Skip to main content

Full text of "Home Movies (1942)"

See other formats 


Digitized  by  tlie  Internet  Arcliive 

in  2015 


Iittps://arcliive.org/details/liomemovies194209verli 


Price^25c 

YEARLY  SUBSCRIPTION.  $2.00 


Hnrold  M.  Lambert 


rary  .  19 12 
Annual  Beginnei^s  Number  I 


I 


—highlight  your  home  movie 
shows  with  these  professional 
Hollywood  fun  films  .  .  . ! 


There's  Tons  of  Laughter  in 

i    WATER  BUGS 

Starring  Billy  Dooley 

Dooley,  a  sailor  in  the  Navy,  goes  on 
shore  leave  and  is  "shanghaied"  by  a 
gang  of  hardboiled  seannen.  A  mutiny 
and  the  captain's  daughter  provide  both 
action  and  ronnance  for  the  sailor.  Order 
by  number — 487-B. 


200  ft.  16  mm  $5.00 

100  ft.    8  mm   2.00 

"Ask  Your  Dealer  to  Screen  It" 


^FAIRYLAND  EXPRESS  features  Oswald 
Rabbit.  It's  a  lively  cartoon  film  chuck  full  of 
laughs  for  young  and  old  and  depicting  the  an- 
tics of  Oswald  and  others  in  a  Fairyland  where 
all  is  free.  Ask  for  No.  I  I -A. 

100  ft.  16  mm  $3.00 

50  ft.    8  mm   1.50 


THE  NURSEMAID  ^  |>r 


Starring  Mickey  Mouse.  Left  in  charge 
of  an  infant,  Mickey  and  Pluto  get  into 
many  laugh-provoking  situations.  A  laugh 
a  minute!  Order  by  number — I  506-A. 

100  ft.  16  mm.      .     .     .  $3.00 
50  ft.    8  mm.      .     ..  1.50 

WRITE  for  Latest  Catalogs  of 

8  mm  and  If)  mm  Films — They're  FREE! 


HOLLYWOOD  FILM  ElVTEHPRISES,  ixc 

6060  SUNSET  BOULEVARD  •  HOLLYWOOD.  CALIF. 


ADVISORY  EDITORS 

)R.  A.  K.  BAUMSARDNER 

Peoria  Cinema  Club 

•ETER  BEZEK 

Chicago  Cinema  Club 

;.  JAMES  BIALSON 

Amateur  Motion  Picture  Club  of  St.  Louis 

■:.  MOSS  BROWN 

Dallas  Cinema  Club 

WALTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  P^. 

CLAUDE  W.  A.  CADARETTE 

Los  Angeles  8mm  Club 

^.  EMERSON  CLYMA 

Detroit  Society  of  Cinematographers 

lUSSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

CYRIL  DVORAK  . 

Suburban  Amateur  Movie  Club 

ARTHUR  E.  GIBBS 

Portland  Cine  Club 

RAY  A.  HOOK 

Seattle  8mm  Club 

ALFRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

J.  E.  NESTELL 

Cinemen  Club 

NARCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

GILBERT  B.  PETERSON 

Metropolitan  Cine  Club 

ROME  RIEBETH 

Minneapolis  Cine  Club 

A.  THEO.  ROTH 

Sherman  Clay  Movie  Club 

C.  O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

J.  PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 

REED  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 

M.  F.  SISSEL 

Austin  Movie  Club 

DR.  C.  ENION  SMITH 

Metro  Movie  Club  of  Chicago 


MOYIES 

Ru-  V.  S.  PtI.  on. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.   Price  25c  per  copy  In 
U.  S.   No  part  of  magazine  may  be  reprinted  without 
specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  JANUARY,  1942 

it's  new  to  me — By  Cinchng  Shopper   2 

YOU  ARE  ONE  OF  US   11 

FIRST  LESSON  IN  MAKING  HOME  MOVIES — By  Stanley  Andrews.  .  12 

INDOOR  LIGHTING  EASY  FOR  THE  BEGINNER — By  Frederic  Grneser  13 

TITLE  MAKING  FOR  THE  BEGINNING  AMATEUR 

— -By  VV arren  Garin   1 4 

GUIDE  FOR  THE  BEGINNER  IN  MOVIE  EDITING 

—By  Russell  Dickson  16 

MOVIE  OF  THE  MONTH  By  J.  H .  Sclioen   17 

ACCESSORIES  PAVE  THE  WAY  TO  BETTER  FILMING 

— -By  Curtis  Randall  18 

REVIEWS  OF  WINNERS  IN  UNCUT  FILM  CONTEST 

—By  The  Editors  19 

THE  EXPERIMENTAL  CINE  WORKSHOP   20 

INFORMATION   PLEASE   24 

EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS   30 

THE  READER  SPEAKS   34 

WITH  THE  REEL  FELLOWS   36 

TITLE  BACKGROUNDS   39 


•  Filters  aren't  for  scenic  shots  alone. 
Here's  example  of  good  use  of  yellow 
filter  in  a  medium  closeup. 


JANUARY 


NUMBER  I 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  sponsored 
by  Home  Movies  maga- 
zine. Your  membership  is 
Invited. 


CHAS.  J.  Ver  HALEN 

PUBLISHER 


C.  J.  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.CUSHMAN 
J.  H.SCHOEN 

Associate  Editors 


Entered  as  Second-Class  Matter.  May  6,  1938.  at 
the  Postoffice  at  Los  Angeles,  Calif.,  under  the 

Act  of  March  3.  1879. 
Subscription  rates;  U.  S.  $2,00  per  year.  Canada 
and  Foreign  Countries.  $3.00  per  year.  Single 
copies  25c.  Canadian  and  Foreign  single  copies 
35c.  Copyright,  1940.  by  Ver  Halen  Publications. 
Advertising   rates  on  application. 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 


NEW  YORK  OFFICE 
Everett  Gellert,  62  V^est  4Sth  Street 
Vanderbilt  6-5254 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S    MAGAZINE    FOR    THE    MOVIE  AMATEUR 


PAGE  2 


HOME  MOVIES  FOR  JANUARY 


GEARMASTER 

for  Movie  Tripods 


$17.50 


Enables  you  to  make  real  profes- 
sional panoram  or  tilt  shots  with 
any  movie  camera.  Eliminates  the 
use  of  a  long  handle  and  is  geared 
for  panning  and  tilting.  It's  revo- 
lutionarjf  in  design. 


AMERICAN 
BOLEX  WINDERS 

For  8  MM  and  16  MM  Reels 

With  the  American  Bolex  Ten- 
sion Control  Winders  you  can 
spin  your  film  in  rewinding  just 
as  fast  as  you  want  to.  An  adjust- 
able drag,  controlled  by  a  touch 
of  the  finger,  gives  you  the  de- 
sired tension. 

$12.00  per  Pair 

Mail  Orders  Filled 


32nd  St.  near  6th  Ave.,  N.  Y. 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 

Established  1899 


J( 


to 


me 


I 


By  CiNEBUG  Shopper 


Automatic  Screen 

The  amateur  who  wants  to  give  his 
movies  the  sharper,  more  brilliant  pro- 
jection they  deserve,  will  find  the  new 
Radiant  Automatic  projection  screen  a 
wise  choice,  according  to  the  manufac- 
turer. Here  is  a  screen  designed  espe- 
cially for  home  movies  and  said  to 
possess  distinctive  features  tending  for 
ease  of  operation  as  well  as  higher 
reflective  quality. 

A  tripod  model  screen  of  quick  col- 
lapsible type,  the  new  Radiant  Auto- 
matic features  square,  instead  of  round, 
metal  tube  construction  in  the  upright 
column  and  double  wall  tripod  legs 
which  prevent  twisting  or  swaying  of 
the  screen  while  in  use. 

There  are  no  set  screws,  spring 
plungers,  or  other  hand-operated  lock- 
ing devices  to  come  loose.  The  special 
positive-locking  feature  assures  perfect 
alignment.  A  slight  pressure  on  a  con- 
venient lever  opens  the  tripod  legs.  A 
simple  turn  of  the  screen  case  auto- 
matically places  it  in  a  horizontal  locked 
position.  Then  an  almost  effortless  pull 
lifts  and  automatically  locks  the  bril- 
liantly glass -beaded  surface  of  the 
screen  into  viewing  position. 

Radiant's  exclusive  "Hy-Flect"  glass- 
beaded  screen  surface  is  noted  for  the 
great  brilliance  and  clarity  it  lends  to 
the  projected  image,  whether  black  and 
white  or  color.    Glass  beads  are  an- 


chored in  to  stay  —  according  to  the 
manufacturer,  who  further  assures  they 
will  not  peel  or  otherwise  come  of?  the 
climate-proofed  flexible  screen  base. 

The  new  Automatic,  like  other  Radi- 
ant models,  is  said  to  always  remain 
perfectly  flat  when  opened  for  use  and 
will  not  curl  at  the  edges.  A  rigid 
steel  tubing  at  the  top  prevents  sag 
and  wrinkles  for  the  life  of  the  screen. 

The  Radiant  Automatic  is  now  being 
demonstrated  by  leading  photo  supply 
dealers  everywhere.  Additional  details 
and  prices  may  be  had  by  writing  to 
Radiant  Manufacturing  Co.,  1140 
West  Superior  St.,  Chicago,  111. 

Castle's  16th  War  Movie 

Right  on  the  heels  of  America's  for- 
mal entrance  into  war  comes  a  flash 
announcement  from  Castle  Films  of  a 
special  news  release  in  January  under 
the  title,  "Japs  Bomb  U.S.A.!",  for 
owners  of  8mm.  and  16mm.  projectors. 

As  has  been  true  throughout  the  his- 
tory of  Castle  news  releases  in  the  past, 
home  movie  collectors  are  promised  in 
this  new  picture  every  foot  of  vital  and 
pertinent  film  as  it  becomes  available 
for  the  nation's  projector  owners.  Sub- 
ject only  to  military'  regulation,  "Japs 
Bomb  U.S.A!"  will  consist  of  all  news 
camera  coverage  of  today's  world- 
shattering  occurrences  near  both  shores 
of  the  Pacific;  on  the  broad  expanse  of 
the  ocean  itself  and  on  the  islands  that 
dot  its  surface. 

This  new  movie  brings  the  number 
of  Castle  war  movies  to  sixteen,  com- 
prising an  unprecedented  and  invalu- 
able motion  picture  chronicle  from  the 


very  inception  of  hostilities  five  years 
ago  when  Japan  first  invaded  China 
down  through  each  tragic  chapter  of 
the  dark  years  that  followed.  As  in 
the  instance  of  its  fifteen  predecessors, 
"Japs  Bomb  U.S.A.!"  is  announced  as 
prompt,  accurate  and  complete  camera 
reporting  of  history  of  the  day,  shot  at 


HOME  MOVIES  FOR  JANUARY 


PAGE  3 


RCA  Building 
New  Yolk 


Field  Building 
Chicago 


San  Francisco 


PAGE  4 


HOME  MOVIES  FOR  JANUARY 


★ 


J/i  NEW 


it**- 


the  scene  of  activity,  a  permanent  rec- 
ord of  destiny  on  the  march. 

It  will  be  distributed  through  photo- 
graphic dealers  everywhere  in  the  course 
of  January,  in  five  sizes  and  lengths, 
and  the  announcement  adds  that  the 
usual  low  Castle  prices  will  obtain  for 
this  special  news  feature. 


Actual  experience  alone  can  show  you 
the  difference  a  modern,  perfect  screen 
can  make  in  your  pictures.  Brilliant — 
sharp — clear — only  Radiant's  "Hy-Flect" 
glass-beaded  screen  surface  shows  them 
in  all  their  original,  lifelike  charm.  For 
ease  of  operation — for  perfect  definition 
—  give  yourself  a  new  happiness.  Of 
course.  Radiant  costs  a  little  more,  but 
you  get  infinitely  more  in  added  years  of 
perfect  service.  Insist  on  Radiant  at  your 
dealer's,  or  wite  for  new  illustrated 
folder  —  FREE!  Exclusive  new  Auto- 
matic model  from  $15.23  up. 


3  Instant- Automatic 
Operations  .  .  .  and  It's  Up 

1.  Touch  a  convenient  lever — the 
tripod  legs  slide  into  position 
and  lock  there  automatically. 

2.  Merely  turn  the  screen  case — 
automatically  it  locks  into  steady 
horizontal  position. 

3.  An  effortless  pull  raises  screen 
and  automatically  locks  into 
viewing  position,  at  any  height, 
17  to  50  inches  from  the  floor. 


MANUFACTURING  COMPANY 

1140-6  W.  Superior  St.  Chicago,  III. 


Revere  s  500  Walter 

Outstanding  improvements  are  claim- 
ed by  the  Revere  Camera  Company  in 
its  latest  Revere  "80"  Projector  for 
8  mm.  films. 

Of  500-watt  capacity  with  double- 
blower  cooling  system,  the  model  comes 
equipped  with  300-foot  reels,  automatic 
film  rewind  with  enclosed  gear  and 
chain  drive,  heavy-duty  AC-DC  motor, 
15-tooth  sprockets  with  safety- roller 
guides  for  film  protection,  and  remov- 
able aperture  shoe  for  quick  cleaning 
without  removing  film. 

Other  features  are  said  to  include 
an  improved  gate  assembly  with  self- 
adjusting  film  guides  which  is  declared 
to  eliminate  unsteadiness  usually  caused 
by  film  width  variations  and  splices.  A 
fully  recessed  tension  shoe  and  aperture 
are  said  to  prevent  scratching  of  film. 

Prices  and  additional  information  of 
this  and  other  models  is  available  from 
Revere  Camera  Company,  Chicago,  111. 

8mm  Windback 

Lap  dissolves  and  other  professional 
movie  effects  which  require  backwind- 
ing  of  film  in  the  camera  can  now  be 
made  with  Filmo  8  mm.  equipment,  the 
Bell  &  Howell  Company  reports. 

The  lap  dissolve  rewind  attachment 
recently  introduced  by  the  company  can 
be  installed  on  any  Filmo  Double  Eight 
camera,  either  before  or  after  purchase. 


A  feature  of  this  rewind  attachment  is 
that  it  counts  frames  one  by  one  as  they 
are  rewound  in  the  camera,  the  an- 
nouncement stated. 

Latest  price  information  for  this  at- 
tachment will  be  given  by  Bell  & 
Howell  Company,  1801  Larchmont 
Avenue,  Chicago. 

Official's  New  Films 

Official  Films,  Inc.  announces  the 
first  of  a  series  of  one-reel  films  entitled 
"America's  Fight  for  Free  Men." 

The  first  reel  released  December 
20th,  1941,  contains  incidents  per- 
taining to  and  leading  up  to  the  dec- 
laration by  the  Congress  of  the  L  nited 
States  that  a  state  of  war  exists  between 
ourselves  and  the  Japanese  Empire. 
Subsequent  pictures  will  be  released 
from  time  to  time,  as  and  when  events 
occur  to  make  up  this  historic  series  of 
motion  pictures.  When  these  releases 
are  finished,  they  will  contain  a  com- 
plete history'  of  the  most  important  era 
in  American  life  since  the  Declaration 
of  Independence;  this  will  be  an  invalu- 
able series  for  Americans  everywhere, 
in  homes,  schools  and  colleges  and  in 
truth  will  be  a  historical  recording,  not 
in  cold  t>'pe  but  in  live,  vivid  moving 
pictures.  The  sound  versions  will  have 
lip  synchronization  sequences  of  all 
speeches  made  by  world  famous  men 
and  women. 

Official  Film?  will  accumulate  what- 
ever material  is  possibly  available  from 
both  professional  and  private  sources, 
from  cameramen  all  over  the  w'orld. 
Hundreds  of  thousands  of  feet  of  film 


'Mm 

will  be  cut  and  edited  into  compact, 
concise  reels.  This  will  be  the  first 
time  that  history  will  be  so  recorded 
for  the  16  mm.  projectors,  both  sound 
and  silent,  and  8  mm.  silent  projectors. 

Official  Films  will  release  these  films 
at  their  usual  low  prices  of  $8.75  for 
16  mm.  silent  and  $17.50  for  sound 
and  $5.50  for  8  mm.  silent.  Silent  ver- 
sions will  be  fully  titled.  Where  not 
obtainable  from  dealers,  write  direct 
to  Official  Films,  Inc.,  330  W.  42nd 
St.,  New  York  Cit\'. 


Wd  Qltj  91m 


CAMERAandPROJECTOR 

I  can  give  my  family  and  friends  outstanding 
entertainment  —  with  full-color  or  black-and- 
white  pictures  that  are  as  beautiful,  sharp  and 
steady  as  theatre  movies."  ^  »"  The  Revere 
8  mm  Camera,  with  its  fine  lens  and  precision 
mechanism,  takes  marvelous  movies.  It  is  easy 
to  load  and  use  and  has  many  advanced  fea- 
tures, including  automatic  film-loop  sprocket, 
5  speeds,  parallax-corrected  view  finder  with 
large  eye-piece,  and  strong  five -foot  spring 
motor.  ^  The  Revere  8  mm  Projector  is 
today's  best  buy,  because  it  leads  in  features 
that  assure  easier  and  better  projection  and 
full  protection  for  film. 

See  Revere  equipment  today!  Send  for  literature!  Re- 
vere Camera  Co.,  Dept.  IHM,  320  E.  21st  St.,  Chicago. 


Revere  "99" 
Turret  Camera 

has  a  rotating  turret  head 
which  permits  instant  change 
of  lens  equipment.  It  holds 
three  screw-type  lenses  and  has 
an  extra  view  finder  for  uses 
with  telephoto  lenses.  Complete 
with  one  Wollensak  F  2.5  lens. 

$77.50 


The  Revere  Projector  can  be  threaded 
quickly.  Hinged  roller-film  guides 
(such  as  are  found  only  in  high  priced 
16  mm.  projectors)  hold  the  film  in 
place  after  it  has  been  threaded  on  the 
upper  and  lower  sprockets  and  assure 
long  film  life. 


REVERE  "80" 
PROJECTOR 

excels  in  screen  brilliance  and  prMes- 

sionally  smooth  p  riormance. 

Heavy  Duty  AC- DC  Motor 

Double  Blower  Cooling  System  for  lamp 

and  film. 
High-ratio  Duplex  Shuttle  Film 

Movenient 
Enclosed  Precision  Mechanism 

(no  belts) 
Fast  Power  Rewind 
Manual  Clutch  for  "Stills 
Radio  Interference  Eliminator 
Complete  with  long-life  500-watt  lamp, 
F  1. 6  and  one  300-foot       $75  00 

REVERE  "85" 
PROJECTOR 

Same  as  "80"  plus  Micro-Tilt.  Duo- 
Shield  Liaht  Diffuser.  Beam  Threading 
Light  and  Carrying  Case,  $89.50. 


REVERE 
Model  "88" 
CAMERA 

uses  economical  8  mm 
film  for  an  average  scene. 
Automatic  film-loop 
sprocket  .  .  .  Eastman- 
licensed  spool  and  spin- 
dle. 5  speeds,  8.  12,  16, 
24,  and  32  frames  per 
second.  Focal  plane  160 
degree  rotary  disc  shut- 
ter. Positive  speed  gov- 
ernor control.  Precision 
mechanism  with  helical- 
ly cut  bronze  and  steel 
gears.  Complete  with 
Wollensak  F  3.5 
lens, 

$38.50 


Revere 


REVERE  PRECISION  CONSTRUCTION 

To  insure  smooth  operation  and  rock-steady  movies, 
Revere  checks  the  quality  and  measurements  of  all 
parts  in  Revere  Cameras  with  the  most  modern  scien- 
tific instruments.  The  above  illustration  shows  how  the 
spindles  are  inspected  with  micrometer  gauges.  They 
must  not  vary  more  than  .00025  of  an  inch. 


PAGE  6 


HOME  MOVIES  FOR  JANUARY 


I'M  GLARE  LIGHT 

(THE     PICTURE  SPOILER!) 


NOTHING  CAN  STOP  ME  EXCEPT... 


MARKS 
POLARIZATION 
PLATES 


Every  photographer  knows 
good  light  is  the  first  re- 
quisite for  good  pictures. 
Yet  few  realize  the  photo- 
graphic evil— "glare  light" 
—  is  always  present  spoil- 
ing some  qualities  in  every 
picture.  But  —  don't  waste 
another  shot  until  you  learn  to  control  "glare 
light"  simply  and  economically  with  MARKS 
POLARIZATION  PLATES  -  the  only  method  to 
light  contro/  without  co/of  obsorption.  Go  to 
your  dealer  or  send  for  comprehensive  folder. 


0 

Glare  Light 
Controlled 


KIN-O-LUX,  INC. 

105  W.  40  ST.  NEW  YORK  CITY 


Edit  Your  Films 


with  the  Craig  Projecto-Editor 


The  clearest,  most 
versatile  viewing 
device  you  ever 
have  seen.  Puts 
that  professional 
smoothness  in  your 
work. 

Fast   or   slow  motion. 


8mm  Model,  com- 
plete with  splicer,  re- 
wind and  film  ce- 
ment   $37.50 

8mm  Projecto-Eai*o- 
alone  ....  $29.50 
16mm  Model  with 
Sr.  Splicer  and  re- 
winds   $59.50 

brilliant  miniature  screen, 
smooth  movement.  The  Craig  Projecto-Editor  adJs 
a    Hollywood    perfection    to    your    home  movies. 


16min  Senior  Splicer 

A  vital  part  of  your  equipment.  Four 
simple  operations  result  in  perfect, 
straight  splices,  quiclily  and  accurately 
finished.  Designed  for  your  comfort, 
pleasure  and  complete  satisfaction. 
Price  SI0.95. 


If  It's  By  Croig,  It's  Precision  Builtl 

"MAKES  EDITING  A  PLEASURE" 

CRAIG  MOVIE  SUPPLY  CO. 

1053  So.  Olive  St.  Los  Angeles,  Calif. 


Enlarqer  Switch 


New  this  month  is  the  Solar  Mer- 
cury Tri-Switch,  a  three  position  mer- 
cury contact  switch  for  use  with  double 
contact  socket  and  twin-filament  bulbs 
to  provide  selective  light  intensities  for 
still  photography  enlargers.  This  ac- 
cessory is  of  special  interest  to  movie 
amateurs  who  use  standard  enlargers 
for  blowing  up  frames  of  8  mm.  or 
16  mm.  film. 

Light  intensities  of  50.  100  or  150 
watts  are  instantly  secured  by  manipu- 
lation of  the  switch.  7  his  enables  the 
operator  to  regulate  the  intensity  of  the 
light  passing  through  the  enlarger  to 
the  density  of  the  negative.  Control  of 
the  light  intensity  is  not  secured  by  a 
rheostat  to  cut  the  voltage — as  that 
would  afifect  the  color  of  the  light. 
Kach  filament  burns  at  full  recom- 
mended temperature  to  provide  a  white 
light  of  proper  printing  quality. 

This  new  switch  is  designed  for 
table  top  operation.  It  is  of  the  single 
throw,  double  pole  type  with  levers 
operating  the  mercury  contacts  for  si- 
lent, sparkless  operation.  The  liquid- 
like operation  of  the  levers  require  prac- 
tically no  efilort,  thus  eliminating  the 
possibility  of  setting  up  \ibration  in 
the  enlarger. 

It  will  be  available  from  your  local 
dealer,  including  switch,  cords  and 
socket  for  $5.50.  Write  Burke  <§:  James, 
Inc.,  223  W.  Madison  St.,  Chicago, 
for  full  details. 

Free  Service 

The  Jack  Schiff  Camera  Exchange 
of  55  Vesey  Street,  New  York  City, 
has  extended  use  of  its  darkrooms  free 
of  charge  or  obligation  to  the  photo- 
graphic public.  These  darkrooms  are 
said  to  be  fully  equipped  with  trays, 
sinks  with  hot  and  cold  running  water, 
enlarger,  and  all  necessary  equipment 
for  developing,  enlarging  and  printing. 

IVew  Titler 

One  of  the  newest  accessories  offered 
by  the  Bell  &  Howell  Company  is  the 
1 6  mm.  Filmo  Titler,  which  will  fit 
Filmo  141,  70,  and  121  Cameras  with- 


out use  of  separate,  loose  adapters,  the 
company  announces. 

Rigidity  and  compactness  are  said  to 
characterize  the  new  unit,  and  special 
mention  is  made  of  an  arrangement 
which  permits  titles  to  be  centered  ac- 
curately through  the  viewfinder  of  each 
camera. 

The  titler  consists  of  a  camera  car- 
riage, a  title-card  carriage,  and  two 
swiveled  reflector*;  each  unit  sliding 
upon  a  connecting  track  and  clamping 
firmly  in  any  position,  announcement 
declared. 

Focusing  is  accomplished  either  by 
the  camera  lens  itself  or  by  a  supple- 
mentary lens.  Several  standard  focusing 
lenses  with  Bell  &  Howell  cameras  will 
focus  down  to  one  foot,  and  with  these 
titling  operation  is  said  to  be  simple. 
For  universal  focus  lenses,  and  for  those 
which  do  not  focus  as  close  as  one  foot, 
the  company  reports  a  supplementary 
lens  in  adjustable  mount  is  available. 

The  title-card  holder  is  hinged  to 
fold  forward  out  of  the  way,  so  that 
small  three-dimensional  objects,  such  as 
flowers,  butterflies,  etc.,  may  be  filmed 
at  close  range. 

For  further  particulars,  write  to  Bell 
&  Howell,  1801  Larchmont  Avenue. 
Chicago. 

Reflectors 

War  time  restrictions  have  not  af- 
fected output  of  Victor  Photoflood  re- 
flectors, according  to  the  manufacturer, 
James  H.  Smith  &  Sons  Corp'n.  The 
Victor  line  includes  the  popular  clamp- 
on  type  reflectors  and  many  intermedi- 
ate models  clima.xed  by  their  No.  520-S 
twin-reflector  mounted  on  extension 
stand.  Catalog  and  prices  are  available 
by  writing  the  manufacturer  at  121 
Lake  St.,  Griffith,  Indiana. 

Sunshades  and  Filters 

Amateurs  are  said  to  be  finding  new 
ease  and  efficiency  in  working  with 
the  combination  Imperial  sunshade  and 
filter  discs  marketed  by  Chess-United 
Company. 

Imperial  slip-on  Sunshades  are  made 
of  high  grade  duraluminum  stock,  de- 
signed to  offer  maximum  efficiency  at 
a  minimum  price,  the  company  declares. 
Dead  black  felt  finish  inside  the  shade 
is  said  to  absorb  all  stray  rays  of  light. 
Si.x  adjustable  prongs  affix  the  shade 
firmly  to  the  camera  lens  or  filter 
mount.  New  price  of  sizes  from  27 
mm.  to  33mm.  is  Si. 10;  37mm.  to 
42  mm..  Si. 25. 

Imperial  mounted  filters  to  be  used 
with  the  Imperial  Sunshades  are  made 
of  solid  colored  glass  and  are  available 
in  >  ellow,  orange,  red  and  green.  New 


11 


Scene  from  "On  fhe 
Right  Tracit,"  new 
sound  slidefilm  of  the 
Cleveland  Tractor 
Company,  which  uses 
Da -Lite  Screens  ex- 
clusively for  the  fol- 
lowing reason  as  stat- 
ed  by  Mr.  S.  C. 
Brown,  Advertising 
Manager,  who  writes: 
"They  are  the  best  on 
the  market  .  .  .  the 
Da-Lite  Glass-Beaded 
Screen  gives  better 
results  under  all  con- 
ditions than  any  other 
screen." 


THE  DA-LITE  CHALLENGER  is  the  only  screen  with  square  tubing  in  BOTH 
the  center  rod  of  tripod  and  extension  support  for  perfect  screen  alignment 
and  unequalled  rigidity.  It  is  the  only  screen  that  can  be  adjusted  in  height 
merely  by  releasing  a  spring  latch  and  raising  the  extension  rod.  12  sizes 
from  30"x40"  to  70"x94",  from  $12.50*  up. 

PARTIAL    LIST    OF    PROMINENT  USERS 


Armour  &  Co. 
Continental  Oil  Co. 

The  Cleveland  Tractor  Co. 

The  Mercury  Corp. 

Lion  Oil  Refining  Co. 

United  Wallpaper  Factories,  Inc. 

The  Firestone  Tire  &  Rubber  Co. 

International  Harvester  Co. 

Nash  Motors  Division,  Nash 

Kelvinator  Corp. 
General  Mills,  Inc. 
Illinois  Central  System 
Smith  Bros.  Mfg.  Co. 


Great  Northern  Railway  Co. 
Edison  General  Electric 

Appliance  Co. 
The  Pure  Oil  Co. 

Youngstown  Pressed  Steel,  Division 

of  Mullins  Mfg.  Corp. 
Plymouth  Division,  Chrysler  Corp. 
General  Electric  X-Ray  Corp. 
Deere  &  Co. 

Savings  Banlt  Association 

of  New  Hampshire 
Kelvinator  Division,  Nash 

Kelvinator  Corp. 
Minneapolis-Moline  Power 

Implement  Co. 


Oldsmobile  Division,  General 

Motors  Sales  Corp. 
H.  J.  Heini  Co. 
York  Ice  Machinery  Corp. 
The  Toledo  Steel  Products  Co. 
The  Crosley  Corp. 
The  Perfect  Circle  Co. 
Chrysler  Division,  Chrysler  Corp. 
Ford  Motor  Co. 
J.  I.  Case  Co. 

Michigan  State  Board  of  Control 

for  Vocational  Education 
The  Todd  Co.,  Inc. 
Charles  P.  Cochrane  Co. 


as  shown  by 
Sales  Management's  Survey 
of  Industrial  Film  Users 

In  choosing  a  screen  for  your  home  movies  oi 
stills,  consider  the  experience  of  leading  users 
of  industrial  films.  With  thousands  of  dollars  in 
vested  in  their  film  productions,  they  are  carefu 
to  select  only  screens  that  show  their  pictures  a 
their  best. 

It  is  significant  that  the  latest  survey  of  thest 
users  reveals  an  overwhelming  preference  foi 
Da-Lite  Screens.  The  October  10th,  1941,  issue 
of  Sales  Management  magazine  covering  the  lead 
ing  business  films  of  the  year  shows  that  of  2i 
companies  which  mentioned  makes  of  screen! 
used,  27  listed  only  Da-Lite. 

In  industry,  homes,  schools,  churches,  theatres 
— wherever  the  importance  of  brilliant,  sharf 
picttires  and  utmost  convenience  is  recognized 
critical  buyers  choose  Da-Lite  Screens  .  .  .  th< 
leader  for  33  years  and  now  more  popular  thai 
ever.  Your  dealer  has  Da-Lite  Screens  in  the  styh 
and  size  you  want,  from  $2.00*  up.  Write  foi 
literature!  Da-Lite  Screen  Co.,  Inc.,  Dept.  1  HM 
2711  North  Crawford  Avenue,  Chicago,  111. 

*Prices  slightly  higher  on  Pacific  Coast. 


A  Guarantee  That  Means  Something 

The  beads  on  a  Da-Lite  Glass-Beaded  Screen  are  guaran- 
teed not  to  shatter  off.  The  entire  screen,  including  fab- 
ric and  mounting,  is  guaranteed  to  be  free  from  defects 
in  materials  and  workmanship.  The  fabric  is  specially 
processed  to  stay  white  and  pliable.  Because  dust  and 
dirt  accumulate  on  any  screen  over  a  period  of  years  and 
destroy  its  original  brilliance,  Da-Lite  does  not  guarantee 
permanent  whiteness,  for  to  do  so  would  be  meaningless. 
The  reliability  of  Da-Lite  Screens  has  been  proved  by 
thousands  of  users  over  a  period  of  33  years. 


PAGE  8 


HOME  MOVIES  FOR  JANUARY 


THE  MARINES 
HAVE  LANDED! 


HISTORIC  HOME  MOVIES 

BY 

OFFICIAL  FILMS 

8  M  M.  16  M  M. 

The  Axis  has  struck  at  these  United  States. 
>X'e  are  at  war.  ^X'hat  the  following  months 
will  bring  no  one  knows.  But  Official  Films 
will  do  its  utmost  to  bring  you  the  record  of 
America's  most  crucial  time.  Beginning  now. 
Official  Films  offer  a  new  series  of  one  reel 
Films  (16  mm.  Silent  or  Sound  and  8  mm. 
Silent)  :  a  series  to  be  known  as  "America's 
Fight  For  Freedom". 

The  first  volume,  dealing  with  the  events 
leading  to  the  treacherous  attack  by  Japan 
and  the  Axis  Powers  is  now  ready.  Additional 
volumes  will  be  released  with  news-flash 
timeliness  as  events  develop.  Every  American 
w  ill  want  to  own  these  vivid  pictorial  records 
of  .America's  fight  against  the  ruthless  forces 
of  the  Axis.  Order  Volume  One  today  from 
your  photographic  dealer  and  place  an  ad- 
vance order  with  him  for  future  volumes  so 
you  may  be  sure  of  prompt  delivery.  These 
films  will  all  be  released  at  Official  Films's 
usual  low  prices : 


8  MM.- 
16  MM. 


SILENT  . 
"  SILENT 
'  SOUND 


S5.50 
$8.75 
S17.50 


Send  for  FREE  illustrated 
Catalogue  of  oi  er  30  films 


ORDER  THESE  FILMS  FROM  YO 
D 


UR 


Official  Films 


330  WEST  42nd  STREET,  N.  Y.  C. 


prices  of  mounted  filters :  27  mm.  and 
29.4  mm.,  $2.25  ;  32  mm.  and  33  mm., 
S2.50;  37  mm.,  $2.75;  42  mm.,  $3.00. 
Imperial  filter  discs  are  priced  as  fol- 
lows: 25  mm.,  $1.25  ;  31.5  mm.,  $1.50; 
39  mm.,  $1.75;  42  mm.,  $1.95. 

More  detailed  information  is  avail- 
able from  Chess-United  Company,  Inc., 
Madison  Avenue  at  29th  Street,  New 
York  Citv. 


/Impro's  "Eight" 

Full  16  mm.  quality  in  an  8  mm.  pro- 
jector is  offered  for  the  first  time  by 
the  Ampro  Model  A-8,  according  to 
claims  of  the  manufacturer. 

Priced  at  $115.00.  the  A-8  Model 
is  declared  to  offer  the  following  fea- 
tures: 500  Watt  illumination,  flicker- 
less  pictures,  efficient  cooling  for  for- 
ward or  reverse  projection,  automatic 
reel  locking  device,  operates  on  both 
AC  or  DC  100-125  volts,  optical  sys- 
tem engineered  for  maximum  brilliance. 

The  company  declares  this  model  of- 
fers the  same  precision  quality  wit- 
nessed in  its  16  mm.  models,  including 
unusual  convenience  in  operation  and 
brilliance  of  illumination. 

Further  information  may  be  obtained 
from  Ampro  Corporation,  2839-51 
North  Western  Avenue,  Chicago,  111. 

Critical  Focuser 

Owners  of  the  Filmo  70-D  movie 
camera  may  now  obtain  a  critical  fo- 
cuser by  which  the  amateur  may  look 
at  the  subject  through  the  photographic 
lens  and  thus  focus  visually  for  pin- 
sharpness,  the  Bell  &  Howell  Com- 
pany announces. 


AN  ACTION-PACKED 

HOME  MOVIE 

by 

OFFICIAL  FILMS 

8  M  M.  16  M  M. 

A  film  made  possible  by  the  cooperation 
of  the  U.  S.  Marines!  Shows  you  the 
w  hole  career  of  a  "Devil-Dog"— from  the 
first  day  of  his  induction  to  his  parcicipa- 
tio.n  in  full-scale  Invasion  Maneuvers. 
Shows  you  how  Marines  march  w  ith  the 
Army,  sail  with  the  Navy,  and  fly  with 
the  Air  Corps!  You  see  action,  action, 
and  more  action!  Once  you  own  this  film 
you'll  know  why  the  Marines  are  cele- 
brated from  "The  Halls  of  Montezuma 
to  the  shores  of  Tripoli"! 

Less  Than  The  Cost  Of  Run  Filvi! 
8  M  M. 

SHORT  app.  50  ft  $1.75 

FEATURE  app.  180  ft  $5.50 

16  M  M. 

SHORT  app.  100  ft  $2.75 

FEATURE  app.  360  ft  S9.75 

SOUND  app.  350  ft  $17.50 


Send  for  FREE  illustrated 

Catalogue  of  over  50  filnis 


Official  Films 


330  WEST  42nd  STREET,  N.  Y.  C. 


HOME  MOVIES  FOR  JANUARY 


PAGE  9 


^^€mt  ^om  ^Aou/cf  mii^^  €m.l^  mit/i 


THE  UNIVERSAL. 
GEARED  PAN-TILT 
TRIPOD  HEAD 


For  of/  OomevQ% — %\\\\  or  Movie/ 

Operating  entirely  through  precision  gears,  the  GEARMASTER 
has  two  controls,  one  for  tilting,  the  other  for  panning.  And, 
because  of  the  exclusive  mechanism,  movie  makers  may  tilt 
and  pan  at  the  same  time,  while  "still"  cameras  may  be  more 
quickly  positioned.  There  are  no  jerky  pans  with  GEARMASTER 
.  .  .  you  may  make  a  complete  circular  panorama  by  simply 
turning  the  panning  handle.  Equipped  with  spirit-level  counter- 
sunk in  base,  the  GEARMASTER  has  been  designed  to  end 
tripod  deficiencies  and  permit  easier  and  quicker  manipula- 
tion when  setting  up  for  picture.  Heavily  chrome  plated, 
carefully  engineered  and  constructed.  Made  to  fit 
all  tripods  with  head  base  up  to  S'/a"  in  diameter. 
Unconditionally  guaranteed  against  defects  in  work- 
manship and  materials  for  5  years.  Si  7.50. 
Price  includes  excise  tax. 


These  American 
Bolex  Products  are 
available  af  your 
dealer,  or  they 
may  be  ordered 
direct. 


Western  Representative:  Franit 
A.  Emmet  Co..  2707  W.  Pico 
St.,  Los  Anqeles,  California. 


ty^^me^yicei/n  ^o/eX^On^^iem/^^  S^nC.  155East44thSt.,NewYork,N.Y. 


PAGE  10 


HOME  MOVIES  FOR  JANUARY 


"  JTJLIGHT,"  by  Major  M.  J.  Burelbach  of  Chattanooga,  Tenn. 

JL  In  the  past  year  this  prize  winning  photograph  has  hung 
in  50  National  and  International  photo  solons.  Major  Burelbach 
made  this  unusual  enlargement  from  a  portion  of  the  21/4" xZVi" 
negative  (shown  at  left)  with  a  Wollensak  3-inch  Enlarging 
Velostigmat.  He  writes :  "For  many  years  I  have  used  Wollensak 
Lenses  in  taking  and  enlarging  pictures.  I  recommend  them  for 
excellent  results."  Improve  your  photography  with  a  VC'ollensak. 


For  Movies,  Candid,  Enlarging,  Action,  Stil 


upe  one  of  u6  .  .  . 


w  E  welcome  all  you  new  cine  camera  owners  to 
our  ever-growing,  friendly  fraternity  of  men  and  women  who 
have  discovered  in  amateur  movies  a  source  of  infinite  pleasure, 
an  outlet  for  their  creative  abilities,  and  a  hobby  that  pays  last- 
ing dividends  in  good  home  entertainment.  Whether  you  travel 
or  stay  at  home,  you'll  open  up  new  worlds  for  yourself  through 
your  movie  camera. 

Conscientiously  handled,  your  camera  can  make  motion  pic- 
tures equalling  in  photographic  quality  those  of  the  professional. 
It  is  a  precision-made  instrument  requiring  only  careful  opera- 
tion to  attain  this  success.  As  you  explore  its  pleasurable  possi- 
bilities, you  may,  as  have  others  before  you,  aspire  to  serious 
production  of  motion  picture  films,  or  choose  only  to  record  in 
movies  the  activities  of  family  and  friends  as  they  proceed  along 
the  pathway  of  life.  Whichever  your  course,  you  may  encounter 
problems  and  the  need  for  guidance;  wish  for  a  prompt  and 
understanding  advisor. 

Turn  then  to  Home  Movies  and  its  staff  of  consultants. 
Present  your  problems  freely.  Keep  for  ready  reference  your 
copies  of  Home  Movies  in  every  issue  of  which  will  be  found 
pertinent  information  and  instruction  in  the  many  interesting 
phases  of  your  new  hobby — photography,  editing,  titling,  and 
processing  of  home  movie  film. 

Home  Movies  is  ever  dedicated  to  the  hobby  of  the  movie 
amateur,  stands  ready  to  help  or  advise  him  at  all  times. 

Welcome  to  this  vital,  lively,  entertaining  hobby  of  ours — 
Home  Movies.  You  are  one  of  us! 


HOME  MOVIES 


HOME  MOVIES  FOR  JANUARY 


LESSON 


in 


in^  It 


ome  movies 


ugh    knowledge  of 
and   lens  important 


E  .  ANDREW 


__  HEX  a  person  embarks  on  the  interest- 
nig  hobby  of  making  amateur  movies,  he  is 
usually  aware  of  certain  fundamentals.  He 
knows  his  camera  must  first  be  loaded  with 
film;  that  there  is  a  button  or  trigger  that  must 
be  pressed  to  operate  the  camera  and  thus  ob- 
tain an  image  on  the  film ;  and  that  he  must 
focus  his  camera  correctly  at  the  object  or  scene 
to  be  filmed. 

There  are  some  important  "musts"  which 
the  beginning  amateur  does  not  always  appre- 
ciate with  the  result  that  his  first  few  rolls  of 


•  Shots  with  hand  held  camera  can  be  as 
steady  as  when  tripod  Is  used.  Brace  support- 
ing arm  against  chest,  as  shown  here  and  bal- 
ance camera  with  hand  that  operates  button. 


film  suffer  in  photographic  quality,  not  infre- 
quently dampening  his  enthusiasm  for  the 
hobby.  There  is,  for  instance,  that  very  impor- 
tant rule  about  a  steady  camera.  Many  begin- 
ners do  not  realize  the  full  importance  of  hold- 
ing a  movie  camera  rock  steady  when  making 
pictures.  Any  movement  of  the  camera  results 
in  the  picture  moving  around  on  the  screen, 
and  the  slightest  movement  of  the  camera  is 
magnified  tremendously,  several  hundred  times 
in  fact,  by  the  time  the  audience  gets  a  look  at 
it.  It  is  important,  therefore,  to  use  a  tripod 
whenever  possible,  or  to  rest  the  camera  on  or 
against  something  solid,  such  as  a  tree  or  fence. 

The  next  thing  to  remember  is  to  keep  the 
camera  motor  spring  wound  up.  It  is  good 
practice  to  wind  the  camera  after  every  shot, 
otherwise  sooner  or  later  we  will  find  our  cam- 
era has  quit  us  right  in  the  middle  of  what 
might  otherwise  have  been  our  best  shot. 

Check  the  stop  settings  and  focus,  in  fact  all 
adjustments  the  camera  might  contain,  before 
every  shot,  and  don't  guess  at  the  distance  the 
subject  is  to  the  camera — learn  to  pace  out  dis- 
tances up  to  about  15  feet.  The  closer  the  sub- 
ject is  to  the  camera  the  more  necessary  that  it 
be  accurately  focused.  And  anything  less  than 
10  feet  should  really  be  measured.  When  travel- 
ling, the  lens  stop  should  be  set  for  prevailing 
light  conditions,  and  focused  at  25  feet,  ready 
for  anything  that  we  might  want  to  take  in  a 
hurry. 

Panoraming,  or  panning  as  it  is  called,  is  the 
moving  of  the  camera  in  an  arc  to  photograph  a 
scene  which  is  too  wide  to  be  taken  in  entirely 
in  one  picture ;  or  to  follow  action,  such  as  a  per- 
son walking,  or  a  boat  moving.  The  best  advice 
for  the  beginner  regarding  panning,  is  "don't." 
Film  manufacturers  have  made  a  fortune  out 
of  film  that  beginners  have  ruined  through 

•  Continued  on  Page  22 


•  Every  cine  camera  has  an  exposure  guide  af- 
fixed to  its  case,  giving  quick,  accurate  data  for 
determining  correct  exposure.  Most  advanced  is 
improved  guide,  shown  here,  now  furnished  with 
all  Eastman  Cine  Kodaks. 


HOME  MOVIES  FOR  JANUARY 


•  Typical  indoor  seHingofan  amateur  whose 
equipment  boasts  several  lighting  units,  some 
equipped  with  diffusers  to  soften  illumination. 


ilVERY  beginning  amateur  should 
know  that  shooting  movies  indoors  is  just  as 
easy  as  filming  out  of  doors  in  sunlight. 
With  one  possible  exception,  the  film  used 
may  be  the  same  and  the  procedure  for  fo- 
cusing and  setting  exposure  remains  un- 
changed. The  one  and  only  difference  is  that 
special  artificial  lighting  must  be  employed. 
But  this  presents  no  obstacle.  All  that  is  re- 
quired for  this  special  lighting  the  amateur  can 
purchase  for  less  than  one  dollar. 

Regular  house  lighting  lamps  are  not  ade- 
quate in  power  for  successful  cine  photography, 
and  for  this  reason  special  lamps  have  been 
designed  to  supply  the  right  quality  of  light  in 
ample  amount  for  photography  indoors.  The 
lamps  are  known  as  photofloods  and  today  are 
available  as  readily  as  lamps  for  household  use. 

The  photofloods  designed  especially  for  ama- 
teur photography  are  available  in  four  sizes 
and  are  pictured  on  this  page.  There  is  the 
No.  1  which  looks  like  an  ordinary  60-watt 
globe  but  gives  out  light  equivalent  in  volume 
to  a  750-watt  lamp.  This  photoflood  sells  for 
15  cents  and  will  give  sei-\'ice  for  the  equiva- 
lent of  two  hours. 

The  No.  2  photoflood  looks  like  a  standard 
150-watt  house  lamp.  It  gives  double  the  light 
volume  of  the  No.  l;  and  has  a  rated  life  of  six 
hours.  This  lamp  sells  for  30  cents. 

The  No.  4  photoflood  is  a  giant  lamp  about 
the  physical  size  of  a  300-watt  house  lamp.  It 
is  photographically  equal  to  2500  watts  of  reg- 
ular house  lighting  lamps  and  has  a  rated  life 
of  ten  hours. 

The  R-3,  pictured  at  the  extreme  right  in 
the  illustration,  is  a  mushroom  type  bulb  that 
is  a  combination  photoflood  and  reflector.  It  is 
gaining  wide  favor  with  amateurs  because  it 
eliminates  the  necessity  of  purchasing  reflectors. 
Interior  of  flared  area  of  bulb  is  coated  with  an 
aluminum  reflective  material  with  an  opaque 
base  so  that  none  of  the  light  leaks  through 
from  the  back.  Rated  life  and  power  of  this 
bulb  is  the  same  as  the  regular  No.  2  photo- 
flood used  in  a  reflector. 

The  average  beginner's  concern  is  with  the 
No.  1,  No.  2,  and  the  No.  R-2  photofloods. 


•  Pictured  here  are  all  the 
items  necessary  to  provide 
photographic  lighting  for 
mailing  movies  indoors.  Illus- 
trated are  the  four  popular 
sixes  of  photoflood  lamps 
and  the  clamp-on  type  re- 
flector with  which  the  pho- 
tofloods are  used. 


INDOOR  LICHTINi; 


inner 


Making  movies  indoors  entails  no  tricks, 
requires  no  expensive  equipment... 

By  FREDRIC  GRAESER 


The  No.  4  is  more  adaptable  to  the  require- 
ments of  advanced  and  professional  cinematog- 
raphers  with  large  areas  to  light.  With  super- 
sensitive film,  one  No.  1  photoflood  in  a  regu- 
lation reflector,  set  up  8  to  12  feet  from  sub- 
ject to  be  photographed,  will  enable 
the  amateur  to  expose  the  scene  at 
f/1.9.  By  adding  another  No.  1 
photoflood  in  reflector,  the  scene 
could  be  shot  at  f/3.5.  Moving  the 
lights  closer  to  subject,  say  to  with- 
in feet,  would  enable  one  to 
•  Continued  on  Page  28 


13 


HOME  MOVIES  FOR  JANUARY 


*  Titling  is  done  easiest  with  typewriter  and 
small  titier.  shown  here.  Typed  titles  are  neat, 
easy  to  read. 


And  it  should  be  concluded  with  an 
"  end"  title.  But  these  two  titles  are 
rarely  enough.  Almost  ever>'  silent  mo- 
rion picture  requires  some  explanation 
of  the  scenes  or  action  it  portrays,  and 
that  is  the  purpose  of  the  sub-title  — 
the  explanatory  captions  intercut  at  in- 
ters als  after  the  main  title  that  explain 
what  the  action  does  not  clearly  reveal 
as  the  picture  unfolds  on  the  screen. 

Certainly  ever}-  beginning  amateur, 
who  appreciates  the  wealth  of  pleasure 
the  amateur  movie  hobby  holds  for  him. 
will  be  eager  to  make  his  own  titles  once 
he  understands  how  relatively  simple  it 
is.  Actually,  no  expensive  equipment  or 
accessories  need  be  purchased.  Nor  must 
he  be  a  proficient  letterer  to  make  his  ti- 
tle cards.  Not  that  a  good  titier  won't 
help,  but  for  the  beginner,  at  least,  good 
titles  can  be  made  with  nothing  more 
than  the  camera  and  tripod  which  are 
used  for  shooting  pictures. 

First  of  all.  there  must  be  a  means 


TITLE  muu  FOR  THE  mm 


It's     easy     as     shooting  scenes 


n  d 


extends      scope      of      your  hobby 


w 


VIEWFINDER  ARE*. 





_TJTLE_  AR_EA_ 
CINE-KODAK  MODEL  E 


A  HE  subject  of  titling  is  of 
interest  to  eve  ry  movie  amateur 
whether  he  intends  to  make  his  own 
or  have  his  titles  made  by  a  commer- 
cial title  maker.  Any  motion  picture 
— to  be  considered  co  m  p  1  e  te — re- 
quires titles.  First  it  needs  a  label  to 
identif\"  it — the  lead  or  main  ritle. 


for  photographing  with  the  camera  at 
close  range — at  10  inches  to  30  inches, 
depending  upon  size  of  the  title  card  to 
be  photographed.  This  is  accomplished 
by  placing  an  auxiliary  lens  before  the 
camera  lens  which  immediately  converts 
it  to  short  focios,  the  distance  of  focus 
depending  up  on  the  diopter  measure- 
ment of  the  auxiliar\  lens.  There  are 
other  methods,  but  this  is  the  simplest. 
Au.xiliar\'  lenses  for  this  use  are 


•  Lacking  a  titier,  titles  may  be  tacked 
on  wall  and  photographed.  Method  oi 
centering  title  cards  with  camera  Is  shown 
below,  explained  in  article. 


HOME  MOVtES  FOR  JANUARY 


PAGE  15 


iLl 

z 

CO 

6^- 


21" 


FIG.  1 

X  :  SUPPLEMENTARY  LENS  MOUNT 
Y=  BLOCKS  FOR  HOLDING  CA/V\ERA 
W=  SOCKETS    AND  REFLECTOPvS 


n  r 

TITLE 

el 

<  

5HEET 

EASEL 

FIG.  3 


imiwi  \>\i  nil" 


TITLE  READY   FOR  CENTERING- 
FIG. 4 


•  Here's  a  simple  titler  any  amafeur  can  build. 


sometimes  referred  to  as  portrait  attach- 
ments and  are  obtainable  for  most  cam- 
era lenses  from  photographic  supply 
houses.  But  just  as  effective  for  title 
making  purposes  are  lenses  from  read- 
ing spectacles  obtainable  at  dime-store 
counters.  These  are  plainly  marked  to 
indicate  diopter  size,  enabling  the  film- 
er  to  choose  a  pair  of  spectacles  contain- 
ing the  lens  he  desires. 

There  is  no  need  to  go  into  lengthy 
explanation  of  the  term  diopter  except 


AMATEUR... 


to  say  that  it  is  the  initial  unit  of  meas- 
urement of  single  magnifying  lenses. 
One  diopter  represents  a  focusing  dis- 
tance of  approximately  40  inches.  Thus 
a  one  diopter  lens,  placed  in  front  of  the 
camera  lens  set  at  infinity,  will  bring  in- 
to sharp  focus  a  title  set  up  40  inches 
away.  The  focusing  distances  of  auxili- 
ary lenses  of  other  diopter  sizes  follow : 
134  Diopter     .     .     32  inches 


Diopter 
1^  Diopter 
2  Diopter 
2^2  Diopter 
2%  Diopter 
3^  Diopter 

4  Diopter 

5  Diopter 
The  auxiliary 

portant  parts  of  any 
held  in  accurate  pos 


26  inches 
22  inches 
20  inches 
16  inches 
14  inches 
12  inches 
10  inches 
8  inches 

IS  is  one  of  the  im- 
titler.  It  is  usually 
tion  by  a  mounting 


which  is  part  of  the  titler.  However, 
by  attaching  the  auxiliary  to  the  cam- 
era lens,  the  same  results  are  accom- 
plished, namely,  bringing  the  title  card 
into  sharp  focus. 

We  started  to  explain  how  the  begin- 
ner could  make  titles  without  a  titler, 
so  we  shall  proceed  by  first  relating  how 
to  afifix  the  auxiliary  lens  to  the  cam- 
era. Centering  the  auxiliary  over  the 
camera  lens  is  very  important,  so  it's 
best  to  prepare  a  cardboard  mounting 
for  the  auxiliary  which  will  make  it 
possible  to  mount  it  as  needed,  always 
accurately  centered.  Cut  a  disc  of  card- 
board the  size  of  the  auxiliary  and  cut 
a  hole  in  the  center  the  exact  size  of  the 
camera  lens  barrel.  Join  the  disc  and 
•  Continued  on  Page  32 


•  Typewriter  titlers,  like  Eastnnan  model  pictured  below,  are  available  for  all  cine  cameras. 


•  Inexpensive  title  letters  can  be  made  trom  pipe- 
stem  cleaners  with  aid  of  small  pliers. 


ARROWHEAD  LA 
TO  BOC  C  AN 

D  c  <  E  M  B  |^;|||PNr¥ 


•  Molded  title  letters  give  shadow  and  three-dimen- 
sional effects,  look  professional. 


o  Accessory  supplied  by  Hollywood  Cine  Products 
makes  scroll  and  flop-over  trick  effects  in  titles. 


HOME  MOVIES  FOR  JANUARY 


•  With  the  right  equipment,  movie  editing 
is  as  much  fun  as  filming.  Pictured  here  is  a 
complete  editing  board  with  viewing  device, 
rewinds,  and  splicer. 


inner 


in  movie 


EDITING 


Even  if  every  scene  is  perfectly 
exposed,   one   or  two   may   be  overlong 


B  y 


I 


N 


B  EFORE  the  amateur 
has  progressed  very  far  with 
his  movie  making,  he  will 
hear  a  great  deal  about  edit- 
ing his  films  as  a  means  of 
improving  them.  Editing  is 
essential  to  even,'  motion  pic- 
ture including  the  beginner's 
first  roll.  Few,  indeed,  are 
the  amateur  movies  that  do 
not  require  a  little  "brushing 
up"  on  their  return  from  the 
processors. 

We  are  concerned  now  with 
the  problem  of  elementan,- 
editing — the  polishing  up  of 
the  average  beginner's  roll  of 
home  movies  taken  on  a  Sun- 


•  A  well-planned  home 
cine  workshop  which  just 
begs  the  movie  amateur 
to  spend  endless  hours 
in  editing  and  titling 
movies. 


day  afternoon.  The  more  complex  aspects  of 
editing  a  scenarized  picture  will  be  left  for  a 
future  issue.  The  scope  of  this  elementary 
phase  of  editing  ranges  all  the  way  from  delet- 
ing, entirely,  over-  or  under-exposed  scenes  to 
re-arranging  scenes  to  obtain  a  flow  of  con- 
tinuity'. 

Movie  editing  is  hard  work  only  when  one 
attempts  it  with  inadequate  equipment.  Proper- 
ly outfitted,  editing  becomes  one  of  the  most 
engrossing  and  certainly  one  of  the  most  re- 
munerative features  of  our  hobby.  The  equip- 
ment required,  in  addition  to  projector,  is  a 
viewing  device,  pair  of  rewinds,  and  a  splicer. 
All  are  obtainable  in  prices  ranging  from  a  few 
dollars  up  per  unit.  Complete  editing  outfits, 
including  splicer,  rewinds  and  viewer  are  avail- 
able for  the  amateur  where  cost  is  no  object. 

The  viewer  is  important.  It  enables  one  to 
examine  individual  frames  of  film  for  close  cut- 
ting of  action.  A  good  splicer  that  will  make  a 
firm,  permanent  splice  with  a  minimum  of  ef- 
fort is  essential.  And  the  rewinds  are  an  abso- 
lute necessity'. 

The  first  step  in  editing  is  to  project  the  film 
to  familiarize  one's  self  with  its  contents  and 
quality.  Have  a  pencil  and  pad  of  paper  handy 
beside  the  projector  so  the  spill  light  from  film 
gate  will  fall  upon  it.  Then  as  the  film  is  pro- 
jected, make  notes  of  the  scenes  to  be  deleted  or 
shortened  as  the  case  may  be,  and  notations 
concerning  any  scenes  to  be  re-arranged. 

By  way  of  illustration  let  us  suppose  we 
have,  for  editing,  a  roll  of  film  exposed  last 
Sunday  on  our  ski  strip.  As  the  picture  unfolds 
on  the  screen  we  make  brief  notes:  First  a  re- 
minder for  the  main  title.  The  first  shot  shows 
our  friends  tieing  down  skis  and  poles  on  the 
roof  of  the  car.  This  is  o.  k.  for  the  opening 
shot.  Next  is  a  shot  from  another  angle  of  all 
entering  the  car,  the  start,  and  progress  of  the 
car  down  the  street.  But  the  shot  is  a  little  too 
long.  There's  no  need  to  keep  the  scene  on  the 
screen  to  show  the  car  disappearing  in  the  dis- 
tance. So  we'll  trim  it  about  five  or  six  frames 
beyond  the  point  where  the  car  starts  to  move. 

Next  is  a  series  of  shots  taken  from  inside 
the  automobile  en  route  to  the  ski  resort.  Only 
one  is  at  all  steady,  so  we'll  throw  out  the 
others.  The  scene  picturing  our  arrival  is  o.  k. 

•  Continued  on  Page  31 


16 


HAT  the  cooperative  efforts  of  a 
cine  club  can  do  towards  making  for  more  suc- 
cessful amateur  motion  pictures  is  exemplified 
in  the  picture,  "Latitude  26,"  the  January 
Movie  of  the  Month.  Here  is  a  film  that  well 
might  have  come  from  any  of  Hollywood's 
studios.  Indeed,  it  surpasses  in  plot,  photog- 
raphy and  editing,  many  of  the  comedy  shorts 
of  silent  days. 

Unlike  the  average  amateur  film,  "Latitude 
26"  began  much  the  same  as  any  professional 
production.  There  were  story  conferences,  lo- 
cation searches,  and  innumerable  tests  to  com- 
plete the  cast.  And  eventually  there  emerged, 
under  the  careful  guidance  of  its  producer-pho- 
tographer-editor, Leo  Caloia  of  Los  Angeles,  as 
as  fine  a  film  as  ever  graced  our  roster  of 
Movies  of  the  Month. 

But  it's  the  professional  way  this  picture 
opens  on  the  screen  that  catches  the  eye.  The 


of 


tL 


fine  main  title  is  preceded  by  the  producer's 
credit  title.  Other  credit  titles  follow,  and 
each  is  introduced  in  a  cleverly  executed  iris- 
dissolve.  Presently  there  appears  an  explana- 
tory title  that  states  in  effect:  "Eight  thousand 
miles  away,  basking  in  the  tropical  sun,  is  the 
tiny  island  of  Ah-h-h." 

Then  follows  a  series  of  quick  cuts  of  tropi- 
cal scenes — lofty  palm  trees  shimmering  against 
a  dark  sky,  a  canoe  gliding  on  a  tropical  la- 
goon, and  rolling  surf — each  shot  enhanced  by 
use  of  a  filter.  Then  comes  the  first  hint  of 
comedy,  a  facetious  title but  that's  8000 
miles  away!" 

An  excellent  montage — probably  the  finest 
ever  executed  with  an  amateur  camera — fol- 
lows to  introduce  locale  of  the  story,  the  big 
city,  and  leads  to  the  time  of  the  story — one 
Sunday  morning.  This  montage  was  executed 
with  the  aid  of  a  Bool  Cine  Fader,  an  appara- 
tus that  may  be  fitted  before  the  lens  for  mak- 
ing fades,  dissolves  and  other  trick  effects. 

We  then  see  our  hero,  a  hen-pecked  husband, 
•  Continued  on  Page  37 


•  Reproduced  above 
are  interesting  frame 
enlargements  from  "Lat- 
itude 26,"  the  initial 
Movie  of  the  Month  for 
1942.  Produced  by  Leo 
Caloia  of  Los  Angeles, 
this  film  is  marked  by 
brilliant  continuity  and 
excellent  photography. 
At  left  is  pictured  Ca- 
loia and  the  camera  with 
which  he  filmed  his  fine 
amateur  movie. 


17 


ACCfSSORlEi; 


p 


aue 


ike  wai^  to  Letter  ^iimin^ 


An  accessory  and  gadget  guide 
for     the      beginning  amateur 


N  D 


•  Pictured  above  are  but 
a  few  of  the  many  acces- 
sories available  to  the 
amateur  to  aid  him  in  his 
movie  making:  I — East- 
man splicer;  2 — General 
Electric  exposure  meter; 

3 —  Filmo-fade  device  for 
8  mm.  Filmo  cameras; 

4 —  DeJur-Amsco  expos- 
ure meter;  5  —  Camera 
mount  of  Brov/n  Precision 
titler;  6 — Harrison  & 
Harrison  filter  kit;  7  — 
New  Fink-Roselieve 
splicer;  8 — Thalhammer 
tripod;  9 — Photrix  ex- 
posure meter;  10 — Bell  & 
Howell  tripod;  I  I  — 
Franklin  film  splicer;  12 
— Craig  Projecto-Editor; 
l3_Four-Star  titler;  14 
— Wesco's  Fadette  and 
masking  device,  and  15— 
Weston  exposure  meter. 


HAT  is  the  most  important  accessor" 
I  should  buy  next?" 

This  question  is  asked  more  frequently  than 
any  other  by  the  movie  amateur  with  a  new- 
cine  camera.  Assuming  the  novice  cinefilmer 
possesses  only  his  camera  (and  projector  and 
screen,  of  course),  many  seasoned  amateurs  are 
agreed  that  the  most  important  accessories  for 
filming  for  the  beginner  are  the  following,  list- 
ed in  order  of  their  importance: 
Splicer 

Exposure  Meter 
Tripod 
Titler 
Filters 

Effect  Devices 
The  splicer  is  the  number  one  item  because 
without  it,  successive  rolls  of  films  cannot  be 
edited  and  spliced  together;  and  without  edit- 
ing, amateur  movies  soon  lose  their  appeal,  and 
the  amateur's  interest  tends  to  wane. 


Next  in  importance  is  the  electric  exposure 
meter.  It  is  second  in  importance  only  because 
ever}'  cine  camera  has  a  built-in  or  attached  ex- 
posure guide ;  also,  exposure  data  is  usually  fur- 
nished by  the  manufacturer  with  each  roll  of 
film.  It  is  in  critical  filming  that  the  exposure 
meter  becomes  important — in  shooting  under 
adverse  light  conditions,  indoors  under  artifi- 
cial light,  and  exterior  night  shots  —  where 
more  exacting  readings  are  necessar}'. 

Some  may  argue  that  the  tripod  should  be 
the  number  one  item,  with  no-panning  and 
steady  camera  the  beginning  amateur's  first 
admonition.  However,  it  is  possible  to  shoot 
fairly  steady  pictures  with  a  hand-held  camera. 
The  tripod  is  important  where  extensive  film- 
ing is  to  be  done  and  is  the  best  insurance  for 
professional-like  steadiness  of  pictures  on  the 
screen. 

Fourth  item  is  a  titler.  Home  movies  do 
not  commence  to  appeal  until  they  are  properly 
titled — at  least  with  a  main  or  introductor>- 
title.  L  nless  the  amateur  shoots  his  own  titles, 
he  just  never  seems  to  get  around  to  having 
the  work  done  by  someone  else. 

Filters  are  not  a  "must"  item  but  important 
to  improved  filming,  never-the-less.  In  shoot- 
ing panchromatic  film,  yellow  and  orange  fil- 
ters darken  the  sky  for  cloud  contrasts  and 
otherwise  provide  an  appealing  tonal  correc- 
tion. A  red  filter  provides  a  dark  sky  effect  and 
is  used  most  frequently  by  the  amateur  to  gain 
vivid  contrasts  bet\veen  clouds  and  sky.  There 
are  filters  for  Kodachrome.  too.  haze  filters  for 
outdoor  filming  and  a  special  filter  for  use  where 
Type  A  Kodachrome  is  to  be  used  out-of-doors. 

Effects  devices  are  for  those  amateurs,  hav- 
ing passed  their  "elementar\-  exams,"  who  want 
to  add  fades,  dissolves,  wipe-offs  and  other  pro- 
fessional-like effects  in  their  picture  and  title 
filming. 

Splicers  are  available  in  a  wide  range  of 
•  Continued  on  Page  35 


18 


16  9  10  II  12  13 
5  16  17  18  19  20 
22  23  2A  ^^^^1 
M  30  31 


4 


V. 


Wh 


'E  DEVIATE  somewhat  this  month 
to  present,  instead  of  the  usual  film  reviews, 
reviews  of  a  group  of  movies  submitted  in  a 
club's  50  foot  8  mm.  uncut  film  contest.  First, 
for  the  edification  of  many  readers  and  the 
directorates  of  amateur  clubs  to  whom  this 
type  of  competition  is  new,  let  us  point  out 
that  such  contests  are  fast  gaining  recognition 
for  their  educational  value  among  enterprising 
8  mm.  cine  clubs.  Nothing  offers  the  serious 
cine-filmer  the  practice  and  guidance  neces- 
sary to  improve  his  movie  making  like  the  re- 
strictions of  getting  a  complete  story  pictured 
on  a  fifty  foot  roll  of  film. 

The  contestant  is  limited  to  the  single  roll 
of  8  mm.  film  on  which  he  must  shoot  a  com- 
plete story — complete  in  titling  and  continuity 
without  benefit  of  editing.  To  be  eligible,  the 
film  cannot  be  cut — must  be  in  the  same  one 
continuous  length  it  arrived  from  the  pro- 
cessors. Only  the  splicing  of  the  two  25  foot 
lengths  of  film  is  permitted. 

Obviously  the  contestant  must  carefully 
anticipate  his  footage  in  advance  of  shooting — 
right  down  to  the  last  frame ;  he  must  plan  his 
continuity  and  time  action  carefully  to  make 
sure  he  will  get  in  all  of  the  scenes  and  titles 
required — in  their  regular  order — and  within 
the  alloted  footage.  Just  a  single  error — 
muffing  just  one  scene — and  the  whole  effort 
becomes  ineligible. 

The  contest  films  which  we  shall  review 
here  were  the  runner-ups  in  a  50  foot  uncut 
film  contest  sponsored  by  the  Seattle  8  mm. 
Club.  Carl  Brazier,  one  of  the  club's  direc- 
tors, saw  in  this  type  of  contest,  opportunity 
to  balance  the  over-emphasis  that  had  been 
placed  upon  the  subjects  of  cutting  and  editing 


REVIEWSo/ 


winneri 


in  uncu 


m  con 


test 


D  y 


THE 


EDITORS 


in  club  meetings.  It  was  his  contention  that 
much  of  the  editing  of  home  movies  could  be 
done  by  careful  planning  in  advance  and  shoot- 
ing accordingly.  Then,  too,  the  club  members 
who  showed  the  most  film  were  persons  who 
did  not  have  to  worry  about  film  cost,  and  as 
a  result  the  impression  was  gaining  momentum 
that  one  could  shoot  anything  anytime  and 
anyway,  and  the  resultant  sins  could  be  washed 
away  with  cement  and  splicer. 

All  of  which  was  having  a  definite  tendency 
to  discourage  new-comers  to  the  club  who  had 
to  figure  the  cost.  The  contest  was  conducted 
for  the  express  purpose  of  placing  proper  em- 
phasis on  planned  shooting  as  a  means  of  main- 
taining economy  in  the  hobby  of  amateur 
movies  without  imposing  any  restrictions  on 
its  pleasures.  And  it  is  surprising  how  much 
the  amateur,  once  he  puts  his  mind  to  it,  can 
accomplish  in  the  way  of  continuity,  action, 

•  Continued  on  Page  26 


•  On  this  page  are  en- 
largements of  8  mm. 
frames  from  winning 
films  in  Seattle  8  mm. 
Club's  recent  50  foot  un- 
cut film  contest.  Top, 
left  to  right — scene  from 
"December  Wiles"  and 
"A  Christmas  Dream." 
Below,  left  to  right — 
scene  from  "His  and 
Hers"  and  "Hooked 
Hookey." 


PAGE  20 


HOME  MOVIES  FOR  JANUARY 


Car  Camera  Monnt 

The  amateur  who  would  shoot  movies 
from  his  automobile  while  in  motion 
would  do  well  to  rig  up  a  sturdy  cam- 
era mount  for  this  purpose.  Otherwise 
his  pictures  may  appear  quite  "jumpy" 
on  the  screen  due  to  movement  of  his 
body  while  holding  camera. 

Pictured  here  are  two  ideas  that  are 
easily  adaptable.  The  first  picture  shows 
how  a  sunshade  mounting  within  the 
car  was  adapted  to  hold  a  camera  sup- 
port. A  metal  rod,  machined  to  fit  the 
sunshade  mounting,  also  takes  tilting 
section  of  a  tripod  head  which  receives 
and  holds  the  camera. 

The  second  picture  shows  a  special 


REWARD  FOR  IDEAS! 

IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  titling, 
editing  or  processing  home  movies, 
pass  it  on  to  your  fellow  cinebugs  through 
these  columns.  If  your  idea  is  published 
you  will  receive  two  reels  for  your  ef- 
forts. Extraordinary  ideas  will  net  you  a 
roll  of  film. 

Ideas  not  published  will  be  held  for 
future  publication  unless  they  duplicate 
ideas  previously  received.  Endeavor  also 
to  send  along  photos  or  rough  sketches 
Illustrating  your  suggestions.  There  is  no 
limit  to  number  of  suggestions  vou  may 
submit. 

Important:  When  submitting  Ideas,  be 
sure  to  mention  whether  equipment  you 
use  is  8  mm.  or  16  mm.,  enabling  us  to 
promptly  forward  awards  adaptable  to 
your  use. 


THE  [\PERIMEnU 


mounting  bracket,  made  from  strap  iron 
and  bolts,  which  is  attached  to  car  frame 
just  above  the  windshield.  The  pictures 
are  self-explanatory  as  to  construction, 
and  either  idea  will  afford  a  substantial 
support  for  your  camera,  permitting  its 
operation  while  driving. 


-S.  /.  Bracy, 
New  Orleans,  La. 


Pre-focusing  Idea 


One  of  the  drawbacks  to  more  fre- 
quent home  projection  of  home  movies 
is  the  amount  of  time  and  trouble  re- 
quired in  setting  up  projector,  assem- 
bling screen,  and  finally  checking  up  on 
sharp  focus  before  starting  the  show. 

To  remedy  this  focusing  problem,  I 
have  spliced  three  or  four  frames  from 
an  old  title  into  the  middle  of  each  film 
leader,  which  enables  me  to  check  on 
focus  in  advancing  of  running  the  films. 
The  film  is  threaded  so  that  one  of  these 
frames  rests  in  the  film  gate.  With  pro- 
jector set  for  "still"  projection,  I  flash 
on  the  lamp  long  enough  to  adjust  focus, 
then  proceed  with  my  show. 

—D.  J.  WUson, 
Des  Moines.  lou  a. 


Editing  Aid 


In  editing  home  movies,  it  is  first  nec- 
essary- to  break  down  the  roll  of  film  to 
be  edited  into  separate  scenes  in  order 
that  they  may  be  spliced  together  in 
proper  order.  To  make  this  process  as 
simple  as  possible,  some  method  should 
be  employed  to  hold  each  scene,  prop- 
erly identified,  and  ready  for  splicing. 

The  beginning  amateur  may  adapt 
this  simple  arrangement  to  aid  keeping 
his  film  strips  in  order.  Required  is  a 
large  cardboard  bo.x,  about  two  dozen 
round  paper  clips,  and  an  equal  amount 
of  small  pieces  of  paper  on  which  to 
mark  information  or  numbers  to  iden- 
tify' each  strip  of  film. 

As  the  film  is  broken  down,  a  piece 
of  paper  is  clipped  to  one  end  of  the 
film,  the  number  or  data  written  on  it. 


and  then  the  film  is  clipped  to  edge  of 
box,  as  shown  in  illustration,  with  rest 
of  the  film  lying  uncoiled  in  the  box. 

.Numbers  from  one  up  may  be  marked 
along  inside  edge  of  box  to  correspond 
with  numerals  placed  on  film  scenes  as 
a  means  of  keeping  scenes  in  editorial 
order. 

—H.  N.  Romer, 
San  Marino,  Calif. 


SPLiCE  R 


SPRING  STEEL 
FROM    OLD  CLOCK 


Film  Clamps 

The  small  Eastman  film  splicer  which 
is  a  part  of  Kodascope  equipment,  does 
not  have  facilities  for  holding  the  film 
firmly  in  place  while  splicing.  This  may 
be  remedied  by  first  mounting  the  splicer 
on  a  small  wooden  base ;  then  affi.xing 
two  spring  clamps  as  shown  in  sketch. 

Clamps  may  be  made  from  an  old 
clock  spring  or  any  other  spring  metal 
obtainable  from  the  hardware  store. 
Turn  up  the  ends,  as  shown  and  apply 
a  small  piece  of  felt  or  rubber  to  each 
as  a  protective  measure  against  scratch- 
ing film.  Bend  other  end  of  each  piece 
sharply  at  right  angle,  drill  small  hole, 
and  screw  in  place  with  protected  tips 
in  position  on  splicer  over  the  film  area. 

— Harry  Kemp, 

Santa  Monica,  Calif. 

Bottle  Holder 

If  your  splicer  or  editing  board  pro- 
vides for  the  round  cement  and  water 
bottles,  these  may  be  anchored  to  the 
board  safely  with  two  easily  made  metal 
clips,  shown  here. 

From  a  piece  of  heavy  sheet  metal  cut 
two  strips  about  two  inches  in  length. 
Drill  hole  at  one  end  for  screw,  and  cut 
out  area  at  other  end  to  fit  bottle  neck. 


HOME  MOVIES  FOR  JANUARY 


PAGE  21 


CINE   W  0  R  K  $  H  0  P 


Bend  as  required,  as  shown  in  drawing, 
and  affix  to  baseboard  with  screws. 

This  expedient  will  enable  you  to 
make  splices  faster,  enabling  handling 
of  the  cement  bottle  with  only  one  hand. 
— /.  K.  Polk. 

Walla  Walla,  Wash. 


Griodstone  Rewinds 

A  pair  of  rewinds  are  essential  equip- 
ment for  every  movie  amateur.  With- 
out them,  editing  of  full  reels  of  film  is 
almost  impossible.  For  the  beginner  with 
a  mechanical  turn  of  mind,  satisfactory 
rewinds  may  be  made  from  two  small 
grindstones — such  as  those  inexpensive- 
ly acquired  at  the  five  and  ten  cent  store 
hardware  counters. 

Take  along  a  reel  and  select  two 
grindstones  with  shafts  that  fit  the  reel 
spindle  hole.  Also  make  sure  that  the 
grinders  turn  smoothly  without  binding 
at  any  point  in  a  single  revolution. 

For  the  least  modification,  remove 
only  the  outside  nut  and  the  stone.  The 
reel  may  be  put  on  the  shaft  in  place  of 
the  stone  and  held  in  place  by  tighten- 
ing the  nut. 

Where  quick  mounting  and  removal 
of  reels  is  desired,  cut  out  unneeded  por- 
tion of  shaft  and  slot  it  with  a  hack 
saw  so  that  a  retaining  strip  of  metal, 
as  shown  in  Fig.  2,  may  be  fitted  and 
riveted  in  place.  This  feature  is  found 
on  many  of  the  professional  rewinds. 
After  the  reel  is  mounted,  the  retainer 
is  folded  down,  preventing  reel  from 
slipping  off  spindle. 

Fig.  1  shows  the  rewinds  with  the 
original  screw  clamps  for  mounting  on 
edge  of  table  or  work  bench.  Fig.  2 
shows  upper  segment  of  clamp  removed 
and  a  screw-bolt  inserted  in  place  of  the 


thumb  screw  for  mounting  on  an  edit- 
ing board. 

— A.  E.  Daivson, 
Miami,  Fla. 

Frame  Enlargements 

Frequently  the  amateur  captures  a 
shot  with  his  movie  camera  that  he 
would  like  to  have  enlarged  on  photo- 
graphic paper.  If  your  projector  pro- 
vides for  single  frame  projection,  you 
can  make  an  enlargement  by  projecting 
the  picture  on  a  sheet  of  cut  film,  as 
shown  in  Fig.  A.  The  work  must  be 
carried  on  in  total  darkness  unless  ortho- 
chromatic  film  is  used  in  which  case  a 
metal  red  safelight  may  be  used  at  a 
safe  distance  for  illumination. 

Set  up  the  projector  so  it  will  cast,  on 
a  board  panel  a  short  distance  in  front 
of  projector,  an  image  of  the  scene  the 
size  of  the  cut  film.  4"  x  5"  cut  film  is 
about  right  for  this  purpose.  Run  pro- 
jector until  desired  scene  is  found  then 
throw  lever  for  still  projection  and  ex- 
tinguish projector  light.  Affix  sheet  of 
cut  film  on  board  over  spot  where  scene 
was  projected. 

Because  it  will  be  impossible  to  get  a 
short  enough  exposure  by  simply  switch- 
ing projector  light  on  and  off  quickly, 
it  will  be  necessary  to  make  a  sort  of 
focal  plane  shutter.  This  is  merely  a 
large  piece  of  cardboard  with  a  slot  Yi" 


wide  cut  in  it,  with  sufficient  cardboard 
on  all  sides  to  protect  film  from  light. 

By  holding  the  cardboard  as  close  as 
possible  to  the  film,  as  shown  in  Fig.  A, 
and  switching  on  projector  light,  then 
passing  the  slot  quickly  across  the  film, 
and  switching  off  the  light  again  before 
removing  the  cardboard,  the  proper  ex- 
posure can  be  obtained.  This,  of  course, 
will  have  to  be  determined  by  tests.  The 
film  is  then  developed  and  a  print  made. 

—B.  K.  Davis, 
Milivaukee,  Wis. 

Film  Viewer 

Before  the  amateur  can  edit  or  even 
splice  together  his  films  comfortably  and 
satisfactorily,  an  editing  board  that  pro- 
vides some  kind  of  magnifying  viewer 


9 


adg^etSy   trlcLd  and 


dLortcuts  contriLuted 


•    •  • 


THE  CREAM  OF  THE  CROP 

of  these  gadget  ideas  are  now  available 
to  you  in  book  form — one  compact,  at- 
tractively bound  volume  of  big-but-cost- 
little  ideas  on  how  to  build  simple  gadg- 
ets that  will  enable  you  to  gain  greater 
pleasure  from  your  movie  hobby. 

Illustrated  and  fully  described  are 
gadgets  for  cameras,  projectors,  lenses, 
filters,  tripods,  titlers,  home  processing, 
etc.,  and  completely  indexed  so  that 
you  can  readily  find  description  of  a 
gadget  to  solve  a  problem  when  you 
need  it  most. 

Mail  a  dollar  bill  to  HOME  MOVIES 
today  and  a  copy  of  this  glorified,  help- 
ful gadget  volume  will  be  in  your  hands 
a  few  days  later. 


is  necessary.  The  beginner,  not  yet  ready 
to  purchase  a  factory  built  editing  de- 
vice, can  easily  construct  an  efficient 
viewer  for  either  8  mm.  or  16  mm.  film. 

Accompanying  sketch  shows  details  of 
construction  of  simple  editing  board  on 
which  is  mounted  an  illuminated  view- 
ing device  in  addition  to  rewinds  and 
splicer.  For  the  board  ordinary  plywood 
may  be  used.  This  should  be  elevated 
by  the  addition  of  wooden  cleats  at- 
tached at  either  end  which  permit  in- 
stallation of  the  small  candelabra  socket 
and  7-watt  lamp  beneath  opening  in 
board,  as  shown.  This  light  provides 
illumination  beneath  the  film  for  view- 
•  Continued  on  Page  38 


LCKS 


FIGURE  1 
Cutaway  Vieu>  of  End 


FIGURE  2 

NAIL 

i  ^  \ 

FIGURE  3 


PAGE  22 


HOME  MOVIES  FOR  JANUARY 


VnDE  ANGLE 


Take  Wide  Angle  Shots 
With  Your  8mm  Camera! 

The  MACK  Wide  Angle  Lent  it  designed  to 

overcome  the  inherent  limitation  of  field  com- 
mon to  all  8mm  cameras.  It  covers  TWICE  THE 
WIDTH  or  FOUR  TIMES  THE  AREA  included  by 
regular  lens. 

•  DOUBLES  Width  of  Field  Covered! 

•  Screws  in  FRONT  of  Regular  Lens — 
No  interchanging] 

•  Has  Precise  FOCUSING  Adjustment 
2  Ft.  to  Infinity! 

Ideally  suited  to  both  black-and-white  and 
color  photography. 

PRICE,  including  $'2^00 
excise  tax.._       ^  ^ 

Models  for  all  regular  6  mm  movie  camera  lenses, 
fixed  focus  or  focusing,  of  apertures  from  f  1.3  [of  3,5 

At  Your  Dealer,  or  Write  for  Full  Details 


OPTICAL  CO. 

TAS,  CALIFORNIA 


leddon  in  movie  mamn 

*  (.ontinued  from  Page  12 


4  Tip  from  HOLLYWOOD 

for  Personal  Movie  Makers 

IN  Hollywood,  they  know  it  takes  the  fin- 
est equipment  to  make  the  finest  movies. 
Studio  experience  has  taught  producers,  direc- 
tors, cinematographers.  and  stars  that  the  name 
Bell  &  Howell  marks  the  finest  professional 
equipment.  So.  for  personal  movie  equipment, 
it  was  natural  for  them  to  choose 

HOWELL  nt^^'' 

.  .  .  and  they  found  Filmo  built  to  the  same 
high  precision  standards  .  .  .  built  to  give 
professional  results  with  amateur  ease. 

That's  why  most  professionals  use  Filmo 
for  home  movies.  Their  example,  surely,  is  a 
good  one  for  you  to  follow. 

Write  for  informative  booklets  on  any 
8  mm.,  16  mm.,  or  35  mm.  motion  picture 
equipment  that  interests  you. 

Bell  &  Howell  Company,  1825  Larchmont  Ave., 
Chicago;  New  York;  Hollywood:  Washington. 
D.  C. :  l.ondon.  Established  1907 


chasing  their  viewfinder  all  over  the 
landscape. 

It  is  better  to  take  two  shots,  one  of 
each  part  of  the  scene,   rather  than 

I  swing  the  camera  around  in  order  to 
get  it  all  in  one  shot.  There  are  cases, 
of  course,  when  panning  is  permissible, 
and,  in  fact,  useful  and  necessary,  but 
not  for  the  beginner.  However,  if  one 
simply  must  pan,  do  it  very  slowly,  and 
smoothly,  and  swing  the  camera  from 
left  to  the  right,  the  direction  in  which 
the  human  eye  is  accustomed  to  travel 
while  reading. 

As  far  as  exposure  is  concerned,  if 
there  is  any  sunshine  at  all,  and  the 
scene  to  be  shot  is  not  in  the  shade,  the 
beginner  is,  generally  speaking,  usually 
safe  in  setting  his  lens  opening  at  F.8 
when  using  ordinary  black  and  white 
film.  Any  errors  in  over  or  under  ex- 
posing are  corrected  to  a  certain  ex- 
tent by  the  system  of  compensating  pro- 
cessing which  the  film  manufacturers 

i  use.  For  shots  on  a  dull  day  or  in  the 
shade,  F  3.5  should  do  the  trick.  These 
stop  openings  wmII  not  always  be  cor- 
rect, but  will  serve  very  well  as  a  start- 
er while  the  beginner  is  learning. 

For  indoor  shots,  follow  the  instruc- 
tions on  the  photo-flood  lamp  carton, 
but  always  remember  it  is  the  distance 
of  the  lights  from  the  subject  which  de- 
termines correct  lens  opening,  not  dis- 
tance of  camera  from  the  subject. 

On  the  average  movie  camera  with- 
out variable  filming  speeds,  the  lens 
aperture  is  the  only  means  of  controll- 
ing exposure  inasmuch  as  the  shutter 
opening,  except  on  ver}-,  very  high- 
priced  cameras,  cannot  be  changed.  On 

!  most  movie  cameras  the  shutter  speed 

(  is  between  one-thirtieth  and  one-for- 
tieth of  a  second.  On  a  camera  with 
variable  speeds  it  would  be  about  one- 
fifteenth  of  a  second  at  eight  frames  per 

j  second,  one-sixtieth  at  thirt\"-two 
frames  per  second,  and  so  on. 

As  already  pointed  out  the  lens  open- 
ing safest  to  use  in  case  of  doubt  on 
anything  but  a  dull  day,  or  for  indoor 
shots,  is  F  8,  unless  supersensitive  film 
is  used  in  the  camera,  in  which  case  one 
or  two  stops  smaller  should  be  used.  On 
a  dull  day  F  3.5  is  usually  safe,  and  on 
a  very  dull  day  the  widest  stop.  AH  this 
is  just  speaking  generally,  of  course. 

Very  light  subjects,  such  as  pictures 
of  snow,  and  seascapes,  with  black  and 
white  film  should  be  given  one  stop 
smaller  than  would  be  normal  for  an 
ordinary  shot  under  the  same  light  con- 
ditions. 

Conversely,  very  dark  subjects  should 


be  taken  at  one  stop  larger  opening 
when  using  black  and  white  film.  This 
also  applies  to  color  film,  when  the  main 
part  of  the  subject  to  be  photographed 
is  dark,  and  there  are  few  light  areas 
in  the  scene. 

The  aperture  also  controls  depth-of- 
focus.  Depth-of-focus  is  the  distance 
between  the  nearest  and  farthest  point 
from  the  camera  at  which  an  object 
would  be  in  sharp  focus.  The  smaller 
the  aperture  the  greater  the  distance 
would  be  between  the  nearest  and 
farthest  point  in  sharp  focus. 

A  close-up  of  a  person  should  be  tak- 
en with  as  large  a  stop  opening  as  the 
light  conditions  permit;  this  will  short- 
en the  depth  of  focus  and  throw  the 
background  out  of  focus  so  that  the  per- 
son will  appear  to  stand  out  from  the 
background. 

If  a  lens  only  focuses  down  to  say 
three  feet,  and  it  is  wished  to  photo- 
graph an  object  at  two  feet,  a  small 
stop  opening  will  bring  this  into  focus, 
bearing  in  mind,  of  course,  that  when 
using  a  small  stop  opening,  more  light 
is  necessar}^  on  the  subject. 

One  stop  smaller  will  require  twice 
as  much  light  on  the  subject,  whereas 
one  stop  larger  will  require  but  half  as 
much  light,  and  so  on.  The  stops  on  a 
camera  lens  are  arranged  so  that  each 
division  admits  just  twice  as  much  light 
through  the  lens  as  the  next  smaller 
one.  Two  stops  larger  lets  through  four 
times  as  much  light,  three  stops  admits 
eight  times  as  much  light,  etc. 

To  be  a  little  more  accurate  in  find- 
ing the  relative  speed  of  lenses  at  cer- 
tain stop  openings,  we  merely  multiply 
the  lens  apertures  by  themselves  (i.e. 
square  them),  and  then  compare  one 
with  the  other.  For  instance  5.6x5.6 
equals  31.36;  and  8x8  equals  64,  which 
is  just  about  double  31.36;  therefore  a 
stop  opening  of  F  5.6  is  just  about  twice 
as  fast  as  F  8. 

The  movie  amateur  has  no  real  need 
to  concern  himself  with  the  highly  tech- 
nical measurements  of  a  lens,  or  the  in- 
tricacies of  manufacture;  this  is  the 
makers'  job.  To  the  cameraman,  apart 
from  the  point  of  view  of  quality-,  the 
two  important  "features"  of  a  lens  are 
its  speed,"  and  the  focal  length. 

The  so-called  speed  of  a  lens  is  de- 
termined by  the  krgest  aperture  at 
which  it  will  produce  clear  pictures. 
That  is  to  say.  if  a  lens  is  rated  at  F  4.5, 
it  will  take  clear  pictures  at  any  stop 
up  to  that  point,  but  not  at  any  larger 
stop  opening  were  it  possible  to  alter  it 
to  do  so.  On  the  other  hand  we  can  ad- 


HOME  MOVIES  FOR  JANUARY 


PAGE  23 


just  any  lens  to  a  smaller  stop  opening 
than  the  "speed"  at  which  it  is  rated, 
and  retain,  or  in  fact,  increase,  the  clar- 
ity of  the  resulting  pictures. 

An  F  1.9  lens  operated  at  a  stop  of 
F  3.5  gives  the  same  results  for  ordi- 
nary purposes  as  a  regular  F3.5  lens 
operated  at  the  F3.5  opening.  The  su- 
per-critical may  tell  you  that  when 
shooting  at  a  small  lens  opening  it  is 
better  to  use  a  slower  lens  than  a  fast 
one.  However,  all  cannot  afford  to  car- 
ry around  a  battery  of  lenses,  and  in 
any  event  the  difference  in  results  in 
such  a  case  is  practically  unnoticeable. 

A  good  F  1.5  or  F  1.9  lens  is  a  nice 
lens  to  have  if  one  can  afford  it,  as  it 
increases  the  range  of  the  camera  con- 
siderably over  one  equipped  with  an 
F  3.5  lens,  especially  under  adverse 
light  conditions.  An  F  1.9  or  faster 
lens,  used  wide  open,  allows  room  for 
a  considerable  margin  of  error  in  indoor 
lighting.  It  gives  the  filmer  the  advan- 
tage of  being  able  to  use  ordinary  ortho- 
chromatic  film  with  confidence,  instead 
of  supersensitive  film,  and  still  have  am- 
ple light  on  places  fairly  remote  from 
the  floodlights. 

Although  we  can  easily  take  pictures 
with  the  aid  of  Photofloods  on  ortho- 
chromatic  film  with  an  F3.5  lens,  and 
providing  the  surroundings  are  suffi- 
ciently light  in  color  to  reflect  a  fair 
amount  of  light,  there  are  limitations 
to  the  area  which  can  be  photographed 
because  the  lights  have  to  be  placed 
closer  to  the  subject.  However,  in  or- 
der not  to  waste  film,  it  is  better  to  use 
supersensitive  with  an  F3.5  lens  when 
shooting  indoors  with  Photofloods. 

An  F  3.5  lens  is  by  no  means  a  slow 
lens,  and  with  the  assistance  of  modern 
high-speed  film  emulsions  and  the  half- 
speed  feature  of  some  cameras,  it  can  be 
used  under  conditions  which  at  one 
time  would  have  been  adverse  for  even 
an  F  1.5  lens. 

In  choosing  a  lens,  speed  is  not  every- 
thing to  consider.  There  are  certain 
technical  standards  to  which  a  manu- 
facturer builds  his  lenses,  and  these  are 
not  as  high  for  some  manufacturers  as 
others ;  and,  of  course,  prices  vary  ac- 
cordingly. A  prospective  purchaser  can 
only  judge  a  lens  by  the  reputation  of 
the  manufacturer  and  by  the  results  ob- 
tained by  another  person  who  has  used 
a  similar  lens  of  the  same  make.  It  is 
better  to  buy  a  good  F  3.5  lens  than  a 
cheap  ultra-fast  lens,  because  although 
the  range  of  the  camera  would  be  more 
limited,  the  results  obtained  at  stops  of 
F  3.5  and  smaller  would  be  better  than 
with  a  cheap  lens.  After  all,  the  ma- 
jority of  movie  shots  are  taken  at  stop 
openings  of  F  3.5  and  smaller. 

Next  month  we  shall  present  the  sec- 
ond installment  in  this  series  of  ele- 
mentary instructions  for  the  beginning 
amateur. 


IT'S  MORE  MOVIE  PLEASURE  .  .  . 

WITH  "THEATRE"  QUALITY  PROJECTION 

ON  A  RAVEN  SCREEN 


The  inevitability  of  the  selection  of  Raven  Screens  by  cinematographers  be- 
cause they  tvant  the  finest  is  the  reason  why  more  camera  users  enjoy  more 
movie  pleasure  all  the  time.  Their  selection  (from  among  all  others)  by  East- 
man Kodak  for  the  Cavalcade  of  Color  attest  anew  to  their  superiority.  If 
you,  too,  want  the  finest  screen  value  for  your  movie  money  go  to  your  dealer 
today  and  see  the  Raven  Screen  to  best  serve  your  purpose.    Fine  stores 

across  the  nation  feature  Raven 
Screens. 

There  is  a  Raven  Screen  for  every 
purpose  —  and  to  fit  every  purse. 
Listed  here  are  the  many  Raven  Fab- 
rics and  Raven  Mountings  from 
which  to  make  your  selection. 

RAVEN  FABRICS 

Haftone  Witelite 
Crystal  Beaded      White  Opaque 
Polaroid  Silver  Silvertone 

RAVEN  MOUNTINGS 

DeLuxe  Automatic  Collapsible 

22"  X  30"  to  70"  X  70" 
Standard  Tripod 

30"  X  40"  to  52"  X  72" 
Duplex 

22"  X  30"  to  70"  X  70" 
Table 

18"  X  24"  to  36"  X  48" 
Gear  Operated  Tripod 

45"  X  60"  to  70"  X  70" 
Metal  Case  Hanging 

22"  X  30"  to  70"  X  70" 
Spring  Roller  and  Back  Board 
70"  X  70"  to  12"  X  12" 
STANDARD  TRIPOD  MODEL  Wood  Roller  and  Batten 

(Dotted  tines  show  screen's  48"  x  48"  to  70"  x  70" 

lowest  point)  Thruvision 

22"  X  30"  to  45"  X  60" 

JO 


DELUXE  AUTOMATIC 
COLLAPSIBLE  MODEL 


DUPLEX  MODEL 
(Phantom  shoivs  mast  extended 
for  square  screen ) 


RAVEN  SCREEN  CORPORATION 

314-16  EAST  3 5+h  STREET  NEW  YORK  CITY 


PAGE  24 


HOME  MOVIES  FOR  JANUARY 


Quality  Bulk  Movie  Film 

8min    •    9!/2mm    •  16mm   •  35mm 

SUPER  PANCHRO  REVERSAL— Scored 
Speed  24-lS— Anti-Halo  Backing. 

100  ft.    33  ft. 
Double  8  .  .  .  $3.75  $1.35 
Single  8   .  .  .    2.10  .85 
mm.   .  .  .  3.65 
SUPER  CINEPAN  PLUS  REVERSAL— Not  Scored 
Speed  64-40 — Non-Halation  Base 

100  ft.  33  ft. 
Double  8  .  .  .  $4.00  $1.50 
Single  8  .  .  .  2.25  .95 
16  mm   3.85 

SUPER  CINEPAN  REVERSAL— Not  Scored 

Speed  24-16 — Non-Halation  Base 

100  ft.  33  ft. 
Double  8  .  .  .  $3.60  $1.30 
Single  8   .  .  .    2.00  .80 

16  ram   3.50 

CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-2 — Non-Halation  Base — Nnot  Scored 

100  ft.  33  ft. 
Double  8  .  .  .  $1.85  $  .80 
Single  8   .  .  .    1.20  .55 

16  mm   1.60 

CINE-KODAK-POSITIVE  TITLE  FILM-Not  scored 

100  ft.  33  ft. 
Double  8  .  .  .  $1.45  $  .65 
Single  8   .  .  .    1.00  .45 

16  mm   1.10 

Clear.  Purplehaz.e.  Yellow,  Red,  Amber,  Special  Blue. 

Also  DuPont  Lavender,  Light  Amber. 
Complete  New  Reversal  and  Title  Instructions  Free 
with  Film  Orders.  Separately,  50  cents  each.  Cash, 
checli  or  money  order  for  quick  service.  Deposit 
$1.00  returned  with  C.  O.  D.  orders.  Special  Deliv- 
ery, 15c;  air  mail  $1.00  extra.  Overpayments  re- 
funded or  credited.   No  stamps,  please. 

CAMERA  SPOOLS  WITH  CANS— Each 
Keystone  Dble.  8   .  $  .35   Keystone  Sgle.  8    .  $  .35 

Eastman  Dble.  8    .      .40   16  ram  ,  50  ft  55 

Univex  Sgle.  8.  .  .  .15  16  rara.,  100  ft.  .  .  .65 
EXTRA  CANS.  Double  8  and  Straight  8  size  .05 

100  ft.  and  50  ft.  16  ram.  size  10 

Non-Humidor,  400  ft.  15c  each:  10  for.  .  1.25 

MISCELLANEOUS 

BAIA  Precision  All-Metal  8  ram.  Slitter  .  .  $2.75 
FOTOFADE  DYE  for  making  Chemical  Fades  .  1.00 
FOTOFADE  WIPE-OFF  TAPE,  per  roll  .  .  .60 
CINETINTR.  6  Colors  and  Instructions  .  .  .  3.00 

DuPONT  VISCOSE  SPONGES,  each  35 

HOME  MOVIES.  Back  Issues,  1936-37-38  .  .  .15 
Not  all  months  in  any  year,  1940-41,  each  .  .30 
TITLE  DEVELOPER,  tubes,  each  make,  16  oz.  .15 
NOTICE  — •  All  previous  prices  are  obsolete  due  to 
new  tax  effective  Oct.  1.  New  lists  again  in  prep- 
aration  and  all  who  have  written  will  receive  copy 
as  soon  as  possible. 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  ST.  JOSEPH  ST.      INDIANAPOLIS,  IND. 


SPECIAL  "BUY!' 

4 PARK  CINE  $100 
HOLLYWOOD-TYPE  Titles  ± 


Make  your  movies  "flash  H-o-l-l-y-w-o-o-d"  with 
these  crisp  professional  titles  ready  to  splice  to 
your  film!  FAMILY  ALBUM  .  .  VACATION  DAYS 
.  .  2  styles  of  THE  END — yours  for  only  $1.  Smart 
lettering!  Interesting  backgrounds!  Unique  treat- 
ments! Will  pep  up  your  films  over  and  over 
again.  If  you  want  these  4  unusual  titles,  slip  $1 
bill,  check  or  money  order  into  an  envelope  with 
your  order  today!  Specify  8mm  or  16mm.  This 
offer  is  for  a  limited  time  only — while  the  titles 
in  stock  last!   So  hurry!   Send  $1  today  to 

PARK  CINE  LABORATORY 


120  West  4 1st  St. 


New  York  City 


Turret  and  backwind  installations  on  8  and  I6mnn. 
Lenses,  Binoculars  repaired.  Focusing  mounts. 

MACVAN  MFG.  CO. 

3829  El  Cajon  Blvd.  San  Diego.  Calif. 


TITLE  BACKGROUNDS 

Available  now  are  some  of  the  best  title  backgrounds 
which  appeared  In  earlier  issues  of  HOME  MOVIES. 
These  are  for  typewriter  titlers  only  and  are  available 
in  black  and  white,  or  printed  in  colored  ink  on  col- 
ored stock  for  Kodachrome.  Packets  of  25  back- 
grounds, 50c  postpaid.  Specify  No.  1  for  black  and 
white;  No.  2  for  Kodachrome.  HOME  MOVIES.  6060 
Sunset  Boulevard.  Hollywood,  Calif. 


ormuLion 


Fade-ins  (E.  R.  Fenton,  Hartford, 
Conn.) 

Q.  IV hat  is  the  simplest  method  for 
me  to  make  fades? 

A.  Fades  may  be  made  in  two  ways : 
while  shooting  with  the  aid  of  a  fading 
glass  or  other  fading  device,  of  which 
there  are  several  on  the  market,  or  after 
your  film  is  returned  from  the  processors 
by  using  Foto-Fade.  This  is  a  dye  process 
by  which  the  area  of  film  to  be  faded 
is  subjected  gradually  to  immersion  in 
the  Foto-Fade  dye. 

Fading  glasses  are  marketed  by  Har- 
rison &  Harrison,  Hollywood,  and  this 
firm  also  recently  perfected  an  improved 
fading  device  that  fits  in  front  of  the 
lens  known  as  "Roto-Fade."  Other  fad- 
ing devices  are  the  Wesco  Fadette,  the 
Cine-Transito  by  Baia,  The  Bool  Cine 
Fader,  and  the  Filmo  Fader  marketed 
by  Bell  &  Howell. 

Fixed  Focus  Lens  (K.  c.  Kenny, 

Davenport,  Iowa.) 

Q.  I  have  just  purchased  a  16  mm. 


•  Readers  :  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cam- 
eramen will  answer  your  question  in 
these  columns.  If  an  answer  by  mail  is 
desired,  enclose  addressed  stamped  en- 
velope. 


camera  with  an  f/3.5  fixed  focus  lens. 
Friends  advise  that  I  should  have  got- 
ten a  lens  in  focusing  mount,  especially 
as  I  shall  want  to  shoot  some  ultra- 
closeups.  What  is  your  opinion  on  thisf 

A.  The  fi.xed  focus  lens  you  mention 
will  give  you  very  good  results.  For  one 
thing,  assuming  that  you  are  a  beginner, 
you  will  have  less  trouble  with  focus 
and  get  consistently  good  shots  because 
\ou  won't  have  to  set  your  focus  each 
time.  Of  course,  where  you  want  to 
make  shots  of  subjects  or  objects  at  dis- 
tances closer  than  three  or  four  feet  you 
will  have  to  compensate  for  this  by 
using  an  auxiliary  lens.  This  also  holds 


Emulsion  Ratings  for  Bmm  and  16mm  Films 


.\GF.\ 

Ibinm  SSS  Pan  

16  Hypan  

16mm  Panchromatic  

16mm  Supreme  Pan.  Negative. 

16mm  Finopan  Negative  

16mm  Positive  

16mm  Plenachrome  

8mm  Tnin-8  Hypan  

8mm  Filmopan  


tDUPONT 

Regular  Pan  (Rev.)  Type  S21  

Super  Pan  (Rev.)  T.vpe  302  

Superior-2  (Neg-Pos  or  Rev^  Type  301 
Tyi>e  314  Pan  (Neg.-Pos.  or  Reversal) . 

Positive  Type  600  

Sound  Recording  Positive  Type  601 . . 

E.\STM.\N 

16mm  Super  XX  Pan  

16mm  Super  X  Pan.  

16mm  Safety  

1 6mm  Sound  Pan  

16mm  Pan.  Negative  

1 6mm  Positive  

8mm  Super  X  Pan  

8mm  Regular  Pan  

Kodachrome  (8  and  16mm)  

Kodachrome  "A"  (8  and  16min)  


GEVAERT 
Super  Reversal. 

Panchro  

Ortho  


Schelner 

Weston 

G-E 

Scheiner 

Weston 

c 

e 

a 

a 

c 

o 

« 

S) 

m 
U) 

>> 

bc 

>i 

bc 

c 

>. 

a 

>, 

si 

a 

>. 

s 

Q 

Q 

3 

e- 

Q 

H 

Q 

3 

a 

=J 
H 

GENERA 

29 

27 

100 

80 

125 

100 

Super  Meteorpan  

27 

25 

64 

40 

24 

23 

32 

24 

48 

32 

Super  Panchromatic  

24 

23 

24 

16 

21 

20 

16 

12 

24 

16 

Super  Ortho  

21 

17 

16 

6 

27 

25 

64 

40 

100 

64 

Movetone  Ortho  

19 

13 

10 

3 

23 

41 

24 

16 

Semi-Ortho  

18 

12 

8 

2 

12 

8 

3 

20 

12 

'.Z 

ie 

KIN  0  LUX 

23 

21 

24 

20 

32 

24 

No.  1  

18 

8 

18 

16 

8 

5 

12 

8 

No.  2  

20 

ie 

12 

No.  3  

26 

24 

50 

40 

20 

18 

12 

8 

16 

12 

CONSUMERS 

29 

28 

100 

80 

Ortho  

18 

8 

26 

25 

64 

40 

48 

24 

23 

2i 

24 

ie 

21 

20 

16 

12 

18 

8 

12 

2 

1/6 

17 

9 

6 

1 

HOLLYWOOD 

S.  S.  Pan  

26 

25 

50 

40 

Pan  

21 

20 

16 

12 

100 

80 

125 

100 

Semi-Ortho  

18 

12 

8 

2 

24 

23 

32 

24 

48 

32 

20 

18 

12 

8 

16 

12 

UNIVEX 

23 

21 

24 

16 

17 

14 

6 

23 

21 

24 

16 

32 

24 

20 

IS 

12 

6 

16 

10 

5 

3 

16 

4 

23 

21 

24 

20 

32 

24 

GRAPHICHROME  

18 

16 

8 

5 

12 

8 

Regular  

18 

10 

8 

3 

18 

14* 

8 

3« 

12 

4* 

Plus   

20 

17 

12 

6 

18* 

21 

8* 

12 

12* 

16 

Superpanex  No.  100  

29 

27 

100 

64 

Superpanex  No.  24  

23 

21 

24 

16 

Colortone  

18 

10 

8 

3 

23 

21 

24 

16 

32 

24 

20 

18 

12 

8 

16 

12 

21 

17 

16 

6 

24 

8 

tRatings  for  last  four  Dupont  films  are  for  straight  development.  Ratings  for  reversal  depend  upon  processing  formulas 

and  technique  employed. 
•With  filter. 


HOME  MOVIES  FOR  JANUARY 


PAGE  25 


true  when  you  want  to  shoot  titles  or 
ultra  closeups. 

Lenses  adaptable  for  this  purpose  may 
be  had  at  small  cost  from  most  photo 
dealers.  Also  ordinaiy  spectacle  lenses, 
obtainable  from  five  and  ten  cent  stores, 
serve  this  purpose  very  well.  It  is  nec- 
essary, of  course,  to  select  a  lens  to  fit 
the  requirement.  Most  such  auxiliary 
lenses  are  marked  according  to  diopter 
rating  and  their  focal  distance. 


(  Ben  J.  Marris, 


Out  of  Focus 

Philadelphia,  Pa. 

Q.  During  projection,  the  screened 
image  seems  to  move  toward  and  auiay 
from  the  projector  —  sort  of  "breath" 
on  the  screen,  or  go  in  and  out  of  focus 
at  intervals.  What  causes  this? 

A.  Three  things  seem  to  cause  this. 
First,  where  the  loaded  camera  has  lain 
idle  for  some  time,  the  upper  film  loop 
becomes  fairly  rigid  causing  it  to  push 
pressure  plate  of  film  gate  open  and 
allowing  film  to  travel  away  from  the 
established  plane  of  travel.  This  condi- 
tion usually  causes  a  momentar>^  waver 
of  the  scene  to  appear  on  the  screen.  As 
it  generally  occurs  at  the  beginning  of 
a  scene,  it  is  easily  removed  —  clipped 
from  the  scene — without  any  noticeable 
effect  on  the  action. 

Another  cause  are  the  particles  of  film 
emulsion  which  frequently  gather  on 
edge  of  film  gate,  causing  the  film  to 
pass  the  aperture  off  the  true  plane  of 
travel. 

Then  there  are  poorly  made  splices 
which  are  the  most  frequent  cause  of 
"breathing"  or  wavering  effect  on  the 
screen.  Using  the  minimum  of  cement 
on  splices  and  care  in  preventing  run- 
ning-over of  the  cement  to  the  adjacent 
film  frames  will  eliminate  the  waver- 
ing trouble. 

Shooting  Indoors  (George  Bums, 

Chicago,  111.) 

O.  Please  tell  me  something  about 
making  movies  indoors.  Do  I  need  spe- 
cial lights?  If  so  how  many  and  how 
much  do  they  cost? 

A.  Whether  your  camera  is  fitted  with 
a  fast  or  slow  lens,  you  will  need  spe- 
cial artificial  illumination  for  good  in- 
door movies.  The  source  of  this  illumi- 
nation is  special  Photoflood  lamps  that 
look  just  like  regular  60  and  100  watt 
bulbs  except  that  they  are  more  power- 
ful—  give  a  more  intense  light.  The 
smaller  size  retail  for  150  and  the 
larger,  No.  2  size,  for  300. 

For  best  results  Photoflood  lamps  al- 
ways should  be  used  in  regular  photo- 
graphic reflectors  which  gather  the  rays 
of  light  and  concentrate  it  on  the  scene. 
Good  temporary  reflectors  made  of 
paper  especially  for  use  with  Photo- 
floods  are  available  from  photo  dealers. 


Dependability 


IS  ffie  Thing.. 


VERSATILITY  is  a  matter 
of  photographic  skill,  based 
on  camera  dependability.  On  the 
dependability  of  Graflex  cameras 
many  a  brilliant  career  has  been 
built. 

The  2V4  X  3V4  Series  B  Graflex 
is  a  small  camera,  yet  it  affords  the 
ineans  with  which  masterpieces 
can  be  made.  It  offers:  full-vision 
ground  glass  focusing,  revolving 
back,  the  famous  5V2"  Kodak  An- 
astigmat  //4.5  lens,  focal  plane 
shutter  with  25  speeds  up  to 
1/1000  and  "time,"  close-ups  at  21 
inches,  and  the  ability  to  use  film 
packs,  sheet  film,  or  plates. 
The  Series  B  can  be  fitted  with 
accessory  telephoto  lenses  if  de- 
sired. Price,  $106.50. 

Graflex  and  Graphic  cameras  are  made  by 
the  Folmer  Graflex  Corporation 


EASTMAN  KODAK  COMPANY, ROCHESTER,  N.  Y. 


gg2««BBBCCCC  C 
PpODEEEEEEEE 

275SGB77889gOi 


fcasy  Titling  For  The  Beginner 

New  and  seasoned  movie  amateurs  alike  find  in  HOLLYWOOD  TITLETTER  sets  an  ideal 
medium  for  making  movie  titles  quickly  and  easily.  Sets  consist  ol  120  characters — 
letters,  figures,  punctuation  marks — two  4"x5"  permanent  backgrounds,  two  color  land- 
scapes, six  assorted  novelty  backgrounds,  panel  of  clear  celluloid,  bottle  of  adhesive, 
and  tweezers. 

AVAILABLE  IN  WHITE  OR  RED  CHARACTERS 

$4.95 

Direct  or  From  Your  Camera  Dealer 

HOLLYWOOD  CINE  PRODS.,  3221  S.  Figueroa,  Los  Angeles,  Calif. 


PAGE  26 


HOME  MOVIES  FOR  JANUARY 


¥E$(COFILM 


Looking  for  a  naj  to  be  sur«  of  top-quality  moTlei 
without  paying  a  price  peiulty?  Here's  your  answer. 
At  ESSCO's  low  prices  you  can  afford  to  take  mor» 
moTles  and  better  moTles.  You  pocket  a  genuine  saving, 
and  enjoy  greater  fllm  satisfaction  at  the  same  time. 

good,    wide  latitude, 
)  non-halo,    ortho    film  for 
sharp,      brilliant  results. 
Weston  12. 


ESSC0'12 


ESSCO  No.  8  Weston  8  semi-ortho 
IBSCO  No.  24,  extra  fast,  Weston 
24-16  panctiromatic,  fine  grain.  .  . 
ESSCO  No.  100.  Pan,  non-halo, 
Weston  100  Tungsten.  Not  for  use 
In  bright  daylight  


4.25  2 


75 


1 .50 
1 .75 


FAST  PROCESSrNO  and  return  postage  inctuded.  Eaeh 
roll  on  daylight  loading  spool  in  metal  box  and  strong 
carton,  ready  for  us«  In  all  standard  camera*.  24  hour 
processing.  ORDER  DIRECT  FROM  THIS  AO.  Stock  up 
NOW  before  prices  rise.  $1  deposit  on  all  CO.D. 
orders. 

WRITE  FOR  DESCRIPTIVE  CIRCULAR  AND 
BARGAIN  LIST  OF  FILM  SUBJECTS 


6117  S.CampbeU  Av.l 


Chicago  i 


Buy  from  Byron's,  Washington 

SAVE  MONEY 

on  a//  MOVIE  ^<\u\pmeni 

i^We  carry  a  full  stock  of 

all  natioDally  advertised  ^ 
movie  cameras  and 
equipment.  We  don't 
have  expensive  price  cat- 
alogues .  .  .  but  whatever 
you  need,  write  us  and 
we'll  quote  you  the  low- 
est prices. 


One   of  the 
Leading 
Motion  Picture 
Producers  in 
the  East 


Dept.  HMJ 

BYRON'S,  Inc. 


625  15th  Street 


Washington,   D.  C. 


AT  YOUR  DEALER    "^■i^'     ONLY  4oc  BOTTLE 

Tot  Coloring  Movie  Scenes  and  Titles 

Send   for  FREE   Bulletin   No.  20 
MANSFIELD    PHOTO    RESEARCH  LABORATORIES 
Dept.  HM-I       701  South  La  Salle  St.       Chicago,  III. 


li^ilttYourOwn 

f  f^WUm  TiUes 


Photo  titles, stationery. greeting 
'  cards,  bookplate,  advertising. 
Easy  rules  fomished.  Jonior 
Ootfits  J8.25  op.  Senior  $17  op. 
Print  lor  Others,  Big  Profits.  Sold 
direct  from  factory  odIj.  Wnt«  for 
free  cmt&loff  and  sJI  detaila.  Kelsey 
Presses,  W-94,  Meriden,  Conn. 


•  Continued  from  Page  19 

titles  and  photography  without  laying  a 
scissors  to  the  film.  And  of  particular 
note,  too,  is  the  fact  that  two  of  these 
finalists  were  not  magazine  -  camera 
owners;  the  magazine  boys,  of  course, 
have  a  distinct  advantage  in  anything 
of  this  kind  because  of  the  wide  lati- 
tude of  operation  afforded  by  their 
particular  cameras. 

Reviews  of  the  contest  films  follow : 

"A  CHRISTMAS  DREAM" 
By  Robert  Laing 

This  is  a  delightful  picture  that  com- 
bines animation  with  regular  photog- 
raphy, and  enhanced  by  good  indoor 
lighting.  The  continuity  concerns  a 
small  boy  anticipating  Christmas,  who 
dreams  about  many  of  the  fabulous 
characters  of  storyland. 

In  the  opening  scene,  the  boy  is  point- 
ing to  the  "25th"  of  December  on  a 
large  calendar.  This  is  followed  by  a 
closeup  of  the  figure  25  and  the  square 
containing  it.  Presently  this  square  be- 
comes a  door,  and  through  well  exe- 
cuted animation,  it  opens  revealing  an 
animated  figure  of  a  Snowman.  The 
Snowman  speaks  and  the  words,  "Meet 
some  of  my  friends!"  issue  from  it. 

The  animation  sequence  continues, 
revealing  other  storjbook  characters — 
including  the  cow  who  jumps  over  the 
moon.  And  as  she  does  so,  she  winks 
slyly.  Xe.xt  to  be  introduced  is  Jack 
and  the  Beanstalk  holding  a  bag  of 
beans.  He  drops  a  few  and  the  bean- 
stalk sprouts  up  before  him. 

At  this  point  there  is  a  cut  back  to 
the  little  boy  asleep  in  his  crib,  with 
his  back  to  the  camera — a  wise  choice 
of  pose,  inasmuch  as  it  is  difficult  to  get 
the  average  child  to  remain  perfectly 
still  in  pretending  to  be  asleep. 

The  little  fellow  awakes  and  remem- 
bering his  dream,  goes  in  search  of  the 
Snowman  and  his  storybook  friends.  He 
looks  under  chairs,  bed,  and  radiator 
without  success.  Closing  scene  is  a  shot 
in  closeup  of  the  Snowman  with  the 
words  "The  End"  superimposed  and 
with  the  little  boy's  hand  pointing  to- 
ward him. 

This  picture  is  notable  for  high 
achievement  in  camera-editing  and  \  er\- 
good  photography  plus  plaudits  for  good 
animation  technique. 

"HIS  AND  HERS" 
By  E.  L.  Miller 

Feet  or  hands  or  both  have  often 
been  employed  by  cine  photographers 
as  sole  actors  in  a  photoplay.  "His  and 
Hers"  is  another  movie  of  this  kind, 
but  successfully  produced  within  the 
restrictions  of  the  "uncut"  film  contest. 

The  picture  opens  with  the  actors' 


innerd 


feet  telling  most  of  the  story.  A  girl 
is  standing  at  the  curb  evidently  wait- 
ing for  a  bus.  A  man  approaches  and 
carelessly  bumps  into  girl,  causing  her 
to  drop  her  bundles.  Two  pairs  of 
hands  enter  the  scene  to  retrieve  them. 
There's  a  hint  a  new  friendship  is  in 
the  making,  and  then  we  see  two  pairs 
of  feet — the  man's  and  the  girl's — walk- 
ing away.  A  lap  dissolve  at  this  point 
shows  the  couple  in  the  park,  then  danc- 
ing, then  the  girl  sitting  on  a  couch 
reading. 

At  this  point  the  man't  feet  again 
come  into  the  picture  showing  him  be- 
ing admitted  to  the  girl's  home.  He 
presents  girl  with  a  box  of  candy.  Both 
pairs  of  hands  take  candy  from  the  box. 
The  couple  hold  hands.  The  scene 
switches  to  the  exterior  of  a  jeweln,- 
store.  The  man  stops,  looks  in  the  store 
window.  There's  a  cut  to  the  couple 
walking  in  the  park.  They  sit  on  a 
bench.  Man  opens  box  revealing  ring, 
places  it  on  girl's  finger.  Both  stand 
up  and  embrace  follows,  emphasized  by 
a  closeup  of  the  girl's  feet  as  she  stands 
on  tiptoe. 

The  next  cut  is  to  exterior  of  a 
church,  then  of  a  pair  of  feet  walking 
toward  it,  and  a  fade-out.  The  follow- 
ing fade-in  shows  the  couple  coming  out 
of  the  church  after  the  ceremony.  The 
final  scene  is  that  of  a  car  moving  away 
from  camera  with  a  sign  across  the  back 
of  it  reading.  "Just  Married!" 

All  and  all,  this  is  a  thoroughly  told 
stor}-  that  keeps  moving  at  a  consistent 
pace  right  up  to  the  final  scene. 

"DECEMBER  WILES" 
By  J.  T.  Thompson 

"December  Wiles"  is  another  Christ- 
mas picture,  featuring  a  boy  and  a  girl 
about  ten  years  of  age.  Opening  scenes 
show  them  at  a  calendar  marking  off 
the  days  as  Christmas  approaches.  Their 
father  returns  home  from  the  office 
and  the  youngsters,  intent  on  "polish- 
ing the  apple"  for  Santa  Claus,  lavish 
more  than  usual  attention  on  their 
father — bringing  his  paper  and  slippers 
to  him  and  otherwise  making  him 
comfortable. 

Later  the  girl  is  seen  busy  washing 
dishes,  and  the  boy  tending  the  furnace 
—  much  to  the  amusement  of  their 
parents. 

Comes  the  day  when  dad  and  mother 
go  to  town  to  buy  presents.  Their  re- 
turn finds  the  youngsters  peeking  at 
them  from  behind  the  door,  watching 
the  presents  being  unloaded  from  the 
family  car.  As  their  parents  enter,  the 
youngsters  run  and  hide,  then  continue 


HOME  MOVIES  FOR  JANUARY 


PAGE  27 


watching  them  through  a  keyhole.  But 
they  make  such  a  fuss,  taking  turns 
peeping,  they  arouse  curiosity  of  parents 
who  discover  them  and  send  them  ofi 
to  bed. 

The  youngsters  scamper  off  to  their 
chores  as  a  means  for  making  amends, 
and  a  cut  back  to  the  parents  show  them 
peeking  through  a  crack  in  the  door  at 
the  children  and  smiling  at  each  other 
knowingly. 

This  picture  represents  a  fine  job  of 
camera-editing  as  well  as  photography. 
There  are  one  or  two  things  that  would 
have  made  it  better.  Especially  would 
continuity  have  been  bolstered  if  an  ex- 
terior shot  of  the  children,  indoors, 
looking  out  to  their  parents,  could  have 
been  cut  in  —  pardon  —  filmed  at  the 
point  where  their  parents  arrived  with 
the  toys. 

It  is  understandable,  of  course,  why 
this  was  not  done  as  it  would  have  re- 
quired shooting  a  few  feet  of  the  pre- 
ceding scene  with  lights  set  up  inside, 
then  going  outside  for  the  suggested 
scene,  and  returning  indoors  again  to 
continue  filming  where  the  last  in- 
terior shot  was  interrupted.  Especially 
commendable  is  the  manner  in  which 
this  filmer  made  frequent  closeups. 

■  HOOKED  HOOKEY" 
By  H.  L.  Thompson 

This  story  concerns  a  small  boy  who 
decides  to  play  hookey,  only  to  be  fright- 


After — Camera,  Projector  and  Screen 
BUY  A  TITLING  SET 


Only  by  titling  can  you  give 
your  personal  movie  records 
that  completeness  of  conti- 
nuity which  makes  them  in- 
teresting to  all  audiences. 

Titling  can  be  easy  and  in- 
teresting if  done  with  versa- 
tile MITTENS  letters  which 
enable  you  to  make  profes- 
sional looking  titles  compa- 
rable to  those  on  your  local 
theatre  screen. 


MITTEXS  TITLIIVG  SETS 

Pin  Letters        $5.50  up    Sanded  Back  Letters  .     $4.75  up 

MITTENS  letters  are  mode  in  sizes  and  styles  to  fit  every 
titling  need.  Clever  illustros  make  excellent  decoration  on 
seasonal  titles. 

Write  for  illustrated  literature  today  or  ask  to  see  these  sets 
at  your  local  camera  store. 


MITTENS  LETTER  COMPANY 

REDLANDS  CALIFORNIA 


HAL  ROACH  16mm  SOUND  FILMS 


THERE  GOES  MY 
HEART 

(Available  Now) 

Fredric  March,  Virginia 
Bruce.  Extra!  Dashing  re- 
porter clashes  with  head- 
strong heiress!  Does  he 
get  his  story?  Does  she 
hold  on  to  her  heart? 


TOPPER  TAKES 
A  TRIP 

(Available  Feb.  I,  1942) 

Constance  Bennett,  Ro- 
land Young.  A  beautiful 
"ectoplasma-girl"  leads 
Topper  a  merry  chase! 
Laughs!  Unusual  camera 
tricks! 


ZEN06IA 
(An  Elephant  Never 
Forgets) 

(Available  May  I,  1942) 

Oliver  Hardy,  Harry  Lang- 
don,  Billie  Burke,  Alice 
Brady.  Hall  Johnson  Choir. 
Gay!  Original!  Hilarious! 
Has  Zenobia  a  phobia? 
She  certainly  has  some- 
thing! 


CAPTAIN  FURY 

(Available  June  I,  1942) 

Brian  Aherne,  Victor  Mc- 
Laglen.  Australia's  Robin 
Hood  rides  again-^fight- 
ing  for  freedom,  in  this 
thrilling  adventure  tale. 
Action! 


AVAILABLE  FOR  FIRST  TIME! 

Good  news  for  home  movie  fans  .  .  churches 
.  .  schools  .  .  institutions  and  others!  4  rol- 
licking Hal  Roach  hits  for  non-theatrical  pres- 
entation. Makes  your  audience  feel  all's  right 
with  the  world.  Puts  your  show  over  with  a 
bang!  Order  from  your  film  library — today! 

POST  PICTURES  CORP.  is  the  Exclusive 
Distributor  of  These  Lighter-Brighter 
Side  of  Life  HAL  ROACH  Features 


Contractual  agreements  require  the  maintenance  of  a  mini- 
mum daily  rental  rate  of  $17.50.  An  allowance  of  $2.50  is 
permitted  on  group  or  contract  bookings.  Offering  these  pic- 
tures at  lower  prices  may  lead  to  cancellation  of  exhibition 
without  notice. 


POST  PICTURES  Corp. 

723  Seventh  Avenue,  Dept.  14,  New  York,  N.  Y. 


PAGE  28 


HOME  MOVIES  FOR  JANUARY 


GOERZ 

KINO-HYPAR 
LENSES 

/:2.7  and  f.S 


For  regular  and  color 
/novies  of  surprising 
quality  —  high  chro- 
rnatic  correction  .  .  . 

Focal  lengths  15mm  to  lOOmm  — 
in  suitable  focusing  mounts  to 
Professional  Movie  Cameras. 


GOERZ  Reflex  FOCUSER 

—  Patented  — 
For  16mm  Movie  Cameras  —  voids  PARALLAX 
between  finder  and  lens  —  provides  full-size 
ground-glass  image  magnified  10  times.  Adapt- 
able to  lenses  3"  and  up.  Also  useful  as  ex- 
tension tube  for  shorter  focus  lenses  for  close- 
ups.  Extensively  used  in  shooting  surgical  op- 
erations, small  animal  life,  etc. 


GOERZ  farallax-Free  FOCUSER 
and  FIELD   FINDER  CONTROL 

No  more  off-center  pictures,  for  Filmo  121  and 
Simplex-Pockette  magnifies  4  and  8x. 

For  Detailed  Information  Address 

Dept.  HM-I 

C.  p.  Goerz  American  Optical  Co. 
317  East  34th  St., New  York 

American  LensMakers  Since1899 


NOW! 

A  High  Quality 
16mm  Reversible 

Outdoor  Film 
leo-ft  Roll  Si  .98 

For  Only   ■•• 

Rating  Scheiner  IS 

A  High  Quality 
8mm  Reversible 

Outdoor  Film 
25  ft.  Double  8 

  For  Only  

Fast  Service  —  Processing  same  day  included. 

Ask  your  dealer  or  send  money  direct. 
Write  for  prices  on  developing  and  processing 
your  Pmm  and  16mm  films — even  if  you  bought 
them  elsewhere. 

Visual  Instruction  Supply  Corp. 

1757  Broadway  Brooklyn,  N.  Y. 


98= 


C  MOVIE  TITLES  ^"C^otM 


81 
M  mvaik  iiikkw  Low  Cost 
Snappy  lilies  will  put  zip  Into  your  Hlms.  Gel  this 
titler.  Write,  print  or  draw  your  titles  on  a  card, 
and  "shoot."  p;asy.  No  fuss  or  bother.  When  ordering 
state  make  of  camera. 

(8mm  only)   Revere,  Bevere  Turret.  Keystone,  B  &  H, 
Eastman  20-25,  Univex.  Easi 
month,  O.VLY 


e  Turret,  Keystone,  a  x  n, 
sily  worth  $2.50.  This  $^.69 

Bill  IX  kin\/ie  Ell  kA  Great  money  saver.  Try  It.  Get 
BULK  MOV  16  rlLA«  double  value  for  your  film  dol- 
lars. lOU'  8-8  $1  95.  100'  Sgl.  8  $1.15.  400'  16mm. 
notched  every  in"'  $1.95. 

BB^BBp  Dividend  certificate  with  every 
Elf  k  h  order  this  month  only.  Worth  up  to 
I  llbk  SI 2  on  future  purchases.  .Mall  post- 
caiO  for  Bargain  lists.  Satisfaction  or 
iiMincy  back  on  any  purchase.  ORDER 
rSlAlO'^        DITtEPT  FROM  THIS   AO  Nr<\V 


SUPERIOR  BULK  FILM  CO. 

m  W.  Randolph  St..  Chicaf*,  Ml. 


SOPS 


ened  into  retuniiiig  home  by  a  well- 
meaning  truant  officer.  The  picture 
opens  with  the  boy  and  his  mother 
exiting  from  their  house — the  boy  bent 
for  school,  his  mother  on  a  shopping 
trip. 

A  short  distance  from  home,  as  the 
lad  walks  through  a  vacant  lot,  he 
throws  away  his  books  and  takes  up  a 
fishing  pole  conveniently  hidden  in  the 
weeds.  As  he  proceeds  toward  the  "old 
fishing  hole,"  he  stops  abruptly  at  the 
sight  of  a  truant  officer  lolling  against 
a  lamp  post.  The  boy  turns  and  runs. 
The  truant  officer  looks  after  him,  sees 
the  lad  drop  a  small  coin  purse,  re- 
trieves it  and  runs  after  the  boy.  Fol- 
lows several  shots  showing  the  lad  run- 
ning with  the  truant  officer  attempting 
to  catch  him. 

Presently  the  lad's  mother  is  seen  re- 
turning from  her  shopping.  She  sees 
the  man  pursuing  her  boy,  thinks  its  a 
kidnapper,  and  gives  chase.  The  boy  ar- 
rives home  first  and  sits  on  the  porch, 
nonchalantly  reading  a  book.  Just  as 
the  truant  officer  arrives  and  offers  to 
return  the  coin  purse,  the  lad's  mother 
enters  the  scene  and  attacks  the  truant 
officer.  Explanations  follow  and  the 
picture  ends  with  mother  registering 
relief  and  embracing  her  boy. 

Here  is  a  simple  but  effective  con- 
tinuity that  easily  could  be  filmed  by 


any  amateur.  Only  criticism  is,  this 
filmer  omitted  closeups  and  more  fre- 
quent change  of  camera  angle.  Other- 
wise scenes  were  kept  to  an  interesting 
length. 

Of  interest  are  the  rules  under  which 
this  uncut  film  contest  was  conducted. 
Awards  were  made  on  points,  as 
follows : 

For  action  and  continuity — 50  points. 
This  was  to  handicap  contestants  who 
ordinarily  shoot  only  scenery;  also  to 
emphasize  that  motion  pictures  mean 
"action"  pictures.  And  last,  and  no  less 
important,  to  encourage  careful  plan- 
ning of  continuity  before  shooting. 

For  general  interest — 25  points.  This 
speaks  for  itself;  also  it  nets  proper  rec- 
ognition of  those  contestants  who  place 
titles  properly  in  the  original  shooting. 

For  photographic  technique  —  25 
points.  This  covers  correct  exposure, 
composition,  length  of  scenes,  lighting, 
etc.  By  limiting  possible  points  in  this 
division  to  25,  it  gave  the  novice  a 
chance  to  pile  up  enough  points  in  other 
divisions  to  offset  the  technical  skill  of 
the  more  seasoned  amateur. 

Uncut  film  competitions  are  by  no 
means  limited  to  8  mm.  filmers.  The 
eights  were  the  originators,  but  100 
foot  uncut  contests  have  already  found 
much  favor  among  clubs  exclusively 
16  mm.  in  membership. 


indoor  ii^Ltln^  ^or  Le^innerS 


oor 

•  Continued  from  Page  13 

shoot  the  scene  at  f/5.6.  A  complete 
exposure  table  for  use  with  photoflood 
lamps  will  be  found  elsewhere  in  this 
issue  which  will  serve  as  an  accurate 
guide  to  the  amateur  interested  in  mak- 
ing indoor  movies. 

Effective  results  with  photofloods  re- 
quires that  they  be  used  in  reflectors, 
that  is  a  reflective  surface  in  back  of  or 
surrounding  the  bulb  in  such  a  way  as 
to  gather  and  direct  rays  of  the  lamp  to- 
ward the  scene  or  subject.  While  many 
enterprising  amateurs  have  fashioned 
their  own  reflectors  from  tin  and  alum- 
inum cooking  utensils  obtainable  from 
dime  store  hardware  counters,  the  ama- 
teur about  to  embark  on  indoor  photog- 
raphy for  the  first  time  can  shortcut  his 
efforts  by  using  the  inexpensive  folding 
paper  reflectors  marketed  by  Eastman 
Kodak  Company  and  Agfa.  Set  of  two 
retails  for  about  20c  and  Agfa's  kit  is 
said  to  include  a  6-foot  measuring  rule 
and  exposure  calculator. 

For  more  permanent  reflectors  where 
expenditure  must  be  kept  to  a  mini- 
mum, the  clamp-on  reflector  pictured  at 
the  beginning  of  this  article  will  be 
found  most  suitable.  These  are  of  spun 
aluminum  and  are  fitted  with  a  spring 
clamp  which  facilitates  placing  them 


readily  about  the  scene  by  clamping 
them  to  back  of  chairs,  bridge  or  floor 
lamp  standards,  picture  frames,  etc. 
Thus  need  for  special  tripods  is  elimi- 
nated^— another  saving  for  the  pocket- 
book.  Clamp-on  reflectors  may  be  had 
for  as  little  as  $1.60  each  and  from  here 
the  price  ranges  upward  depending  up- 
on size  and  length  of  cord. 

So  much  for  equipment. 

As  for  placement  of  lights  about  the 
scene  or  subject, "  this  is  comparatively 
simple.  The  thing  to  be  remembered  is 
that  exposure  will  depend  entirely  upon 
the  distance  of  the  photoflood  lamps 
from  subject.  The  closer  lights  are  to 
subject,  the  more  intense  the  light  and 
the  smaller  the  stop  that  may  be  used. 
For  example :  placing  one  No.  1  photo- 
flood in  reflector  6  feet  from  subject 
would  require  shooting  at  f/2.8  with 
a  Weston  12  film  ;  but  moving  this  light 
in  closer  to  the  subject — say  to  within 
SYz  ^cet — would  allow  closing  down 
the  lens  to  f/4.5. 

Just  as  in  filming  out  of  doors,  the 
greater  the  light,  the  smaller  the  stop 
that  may  be  used,  and  consequently 
greater  depth  of  focus  will  be  obtained. 
Therefore  it  is  advisable  to  use  as  many 
photofloods  indoors  as  economy  will  al- 


HOME  MOVIES  FOR  JANUARY 


PAGE  29 


low.  Not  less  than  two  separate  lights 
should  be  employed  on  all  scenes  in  or- 
der that  some  semblance  of  modeling 
ma\-  be  achieved  in  the  lighting.  Usual- 
ly- the  term  "modeling"'  is  thought  of 
in  terms  of  professional  lighting;  but 
the  beginning  amateur  can  employ  mod- 
eling technique  in  placing  his  lights 
without  any  great  study  of  the  subject. 
Actually,  modeling,  in  terms  of  light- 
ing, is  the  direct  opposite  of  flat  light- 
ing. A  secondary  light  is  employed  to 
add  tonal  variety  to  the  scene. 

Here's  how  it  works :  let  us  suppose 
the  scene  to  be  filmed  consists  of  moth- 
er seated  in  a  chair  reading  a  story  to  a 
child  held  on  her  lap.  Placing  two  pho- 
tofloods,  one  on  either  side  of  the  cam- 
era and  directed  toward  the  mother  and 
child  would,  if  set  at  the  equal  distances 
from  the  subjects,  result  in  almost  a  to- 
tal flat  lighting  effect — the  light  would 
come  from  one  direction  and  thro  w 
deep  shadows  immediately  back  of  the 
subjects. 

Now  by  taking  these  same  two  light- 
ing units  and  moving  them  about  the 
scene — placing  one  to  the  left  and  about 
five  feet  from  subjects  and  the  other, 
to  the  right  and  within  3  feet  of  them 
two  different  intensities  of  light  will 
strike  them  and  the  shadows  created  by 
the  light  farthest  away  (at  the  left) 
will  be  subdued  to  a  certain  extent  by 
light  coming  from  the  closer  unit  at  the 
right.  Elevating  one  light  and  lowering 
the  other  will  create  still  different  and 
pleasing  effects. 

Backlighting  with  one  additional 
photoflood  in  table  lamp  or  floor  fixture 
adds  to  the  attractiveness  of  most 
scenes,  but  does  not  require  any  change 
in  exposure.  Such  light  is  not  playing 
upon  the  subject  from  the  side  viewed 
by  the  camera  and  therefore  does  not 
affect  the  film.  Similarly,  no  allow- 
ance in  exposure  need  be  made  if  an  ex- 
tra light  reflector  is  directed  upon  the 
background  from  one  side  in  order  to 
bring  out  detail  which  might  be  lost  in 
the  shadows. 

Care  should  be  exercised,  experts  sug- 
gest, to  prevent  direct  beams  of  light 
from  falling  upon  the  camera  lens. 
Avoid  light  reflections  from  window 
panes,  pictures,  glass  doors  or  eye  glass- 
es. Study  the  finder  images;  ever>'thing 
seen  there  will  be  pictured  on  the  film. 

After  lights  have  been  arranged  to 
give  a  pleasing  effect  to  the  eye,  the  fi- 
nal hurdle  is  to  determine  what  camera 
setting  is  required  to  produce  a  well-ex- 
posed picture.  Mention  already  has  been 
made  of  the  indoor  exposure  guide  with- 
in this  issue  and  which  the  amateur  can 
use  with  perfect  safety.  Those  possess- 
ing exposure  meters  will,  of  course,  use 
them  in  calculating  exposure,  the  same 
as  for  out-of-door  photography. 

The  beginner  is  cautioned  to  remem- 


VICTOR 

16MM  CAMERAS 


^    You  get  the  BEST  BALANCE  of 

picture-taking  LIGHT,  LAMP  LIFE 
and  color  temperature..  tvAen  yoo  say 

Lamp  Life,  light  output  and  color  temperature  move  together.  When 
you  win  by  changing  one,  you  lose  on  the  others.  60  years  of  lamp 
making  and  research  taught  General  Electric  that.  So,  the  folks  who 
make  the  lamps  that  Hollywood  uses,  found  the  best  balance 
of  light,  life  and  color  for  good  pictures  .  .  .  and  give  it  to  you  > 
uniformly,  at  low  cost,  in  G-E  Photofloods.  FOR 

GENERAL  ^  ELECTRIC  f  BETTER 
MAZClA  photo  lamps  V  PICTURES 


PAGE  30 


HOME  MOVIES  FOR  JANUARY 


The  Amateur's  Vital  ^eed  for 
Making  Professional  Pictures. 
Basic  Model  $9.95 

Including  Excise  Tax 

Baia  CINE  TRANSiTC 

WIPE-WSC 

VKMETTES 


FLTBi 


The  Baia  Motion  Picture 
Engineering  Co. 

166  Victor  Avenue        Highland  Park,  Mich. 


UTfOXr  CAMERA 
XVUJD  X  EXCHANGE 

CATCPma  TO  THC  PROFfSSIOKtlS  SIHCl  1910 

C[\mO  ,  A  NEW  8"=  I6m/^ DEPT. 

Ilr      When  t/u  amateur  meets  tJit  Professional 

729  -  SEVENTH  Ave  At 

NEW  YORK,  jv:y: 


■^k  ★★★★★★★★★★★★★  ★■^ 


4 


Friends 

of  the 

BEGINNING 
AMATEUR 


rOU'LL  FIND  -e-  boc-  cc-ca-  cs 
ccns^art'/.  E/e',  ce  c-  rne~  v'-3  re- 
cessltles  when  it  comes  to  speeding  to- 
ward that  touch  of  professional  finesse. 
Priced  as  they  are,  you  cannot  afford  to 
pass  up  this  opportunity  of  ordering  all 
c*  •he'Ti  by  rei''  ^a'l. 

HOW  TO  USE  A  MOVIE  CAMERA— 

I  he  perrect  manual  for  beginners — cc  - 
orfully  bound  for  only  50c. 

HOW  TO  REVERSE  MOVIE  FILM— 

Which  tells  how  to  bui  d  home  process- 
ing equipment  and  gives  all  the  formu- 
lae for  reversing,  reducing  and  intensi- 
fying— handscely  bound  for  only  50c. 

HOW  TO  TITLE  HOME  MOVIES— Cov- 
ering composition,  type,  backgrounds, 
tricks,  effects  and  animation — De  Luxe 
Edition  at  only  $1 . 

HOME  MOVIE  GADGETS- and  How 

"0  ~'e-" — S-5-e'"eed  brimful  of 

re'j  rr.''  i  a-o  a  chance  to  treble  you' 
fur — h'ea^/  Three-Color  Canvas-Backed 
Co  /e'"  at  only  $  I . 

THINK  OF  IT!   $3  brings  all  of  the~ 
to  you.  Write  your  check  Now  and  get 
it  in  the  mail  Today.    Simply  address 
HOME  MOVIES,  6060  Sunset  Blvd. 
Hollywood,  Calif. 


*■ 
*■ 
* 

4- 
*■ 
* 

*■ 
* 


ber  that  distance  from  light  to  subject 
is  the  principal  factor,  not  distance 
from  camera  to  subject.  If  two  or  more 
lights  are  used  for  main  illumination, 
the  calculation  should  be  made  for  an 
average  distance  of  all  lights  from  the 
subjects. 

With  light  meter  the  problem  of  ex- 
posure is  easy.  Reading  of  the  light 
should  be  taken,  however,  within  six 
inches  of  the  subject's  face.  Unless  the 
camera  is  extremely  close  to  the  subject, 
the  lens  normally  takes  in  a  wider  view 
than  that  presented  by  the  center  of  in- 
terest, hence  to  secure  perfect  exposure 


under  artificial  light,  the  meter  should 
be  read  from  the  face  rather  than  from 
the  camera  position. 

It  is  recommended  when  estimating 
indoor  exposure  for  average  shots  that 
the  beams  of  all  reflectors  cover  each 
other.  This  does  not  mean  that  the  cen- 
ter of  each  beam  must  play  upon  the 
subject,  in  fact  such  a  practice  is  to  be 
avoided.  By  "covering  each  other"  is 
meant  that  beams  of  light  should  be  dis- 
tributed evenly  over  the  scene  area. 
This  can  be  determined  by  switching  off 
one  reflector  and  seeing  what  area  is 
covered  by  the  other  light,  then  revers- 


EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS 

For  Use  with  Good  Reflectors 


Photoflood 
Lamps 


On« 

No.  I 
Lamp 


Two  No.  I's 
or 

One  No.  2 
or 

One  No.  R2 


Three  No.  I 's 
or 

One  No.  2 

and 
One  No.  I 


Four  No.  I's 
or 

Two  No.  2's 
or 

Two  No.  R2's 
or 

One  No.  2 

and 
Two  No.  I's 
or 

One  No.  4 


Distance 
Lamps 

to 
Subject 
in  Feet 


y/2 

4 

*Vt 
5 

S'/j 
6 

i'/l 
7 

T/2 
8 

8'/2 

9 
10 
II 


3'/2 
4 

4'/j 
S 

S'/j 

i 

i>/2 

7 

8 

S'/j 

» 
10 
II 
12 
13 
14 
16 


y/2 

4 

S 

5'/2 

t 

V/2 
T/2 
8'/j 

IO'/2 
II 

12 

121/2 
14 
IS 
\b 


31/2 
4 

4'/2 
S 

S'/2 
b 

6'/2 
7 

7'/2 
8 

V/2 
V/2 

10 

II 

12 
13 
14 
IS 
17 
18 


'Diaphragm  opening  for  films  with 
Weston  Mazda  speeds  of: 


8       12      16      20  40 


64 


fl.9 

fil 


I  f2.8 


f3.5| 
fL8 

fiT» 


f3.S 


f2.8 

fTs 


f3.S 

as 


f4.5   f5.6  f6.3 

  f4.5    fS.i  f8 

f3.S   ,  f4.5  ,  — 

fi.3 


f2.S 


fl.9 

fTs 


f3.5 
OS 


fl.9 


f3.5 


fl.9 


fS.i 


f3.S 
f278 


f4.5  : 


f2.8 


fl.9 


fl.9 
fLS 


fS.4   f6.3  f8 

f4.5    f6.3  .  f8 

f5.4  ,         ,  f4.3 

f4J  I  f5.6 


f3.5 
OS 

fr9 

fll 


f3.S 
OS 

fr9 

fil 


f4.5 

ns 
fiT9 


fs.« 


f3.S 

rTs 


fl.9 


fll 

ST 

f6J 
KM 
HS 

f3J 


f8 

f6.3 

R.6 

M.~5 

f3J 


fS.i 


f8 


us 

f5.6 

ns 

f6.3 

f2.8 

f5.« 

ns 

Ml 

ns 

as 

— 

ns 

fTs 

K1 

i\S 

fl.9 

__ 

fTs 

fr!9 

US 

f5.6 

f6.3 

f5.6 

— 

ST 

fS.6 

f«J 

f4.S  1  

fll 

f2.8  I  n.5  i         I  f4.S  I  f5.4  I  f6.3  |  _  \ 

f*  J 


fi.3 
f5.6 

f4.5 

ns 
n.8 


f&.3 
f5.i 


fll 


f4.5  1  f4.3 
f5.4 

f3.S 


fl.8 


US 


ns 


f2.8 


I  . 


fl.9  I 


fl.5 


fl.9 

fil 


f3.S 

as 


fl.9 

fll 


f3.S 

ns 


fl.9 

fil 


f4.S 

fll 
nl 

fil 


Ml 


f5.i 


fS 


fll 

«~ 

Kb 

Ml 

fTs 
i\b 

fiT 


f4.3 
f5.4 


\AS 


ns 


I  f4,S  [  f 6.3 
«1 
f4l 


f3.5 

ns 


ns 


fl6 

fiT 

«" 

f6."3 
Kib 
Ml 


'For  Weston  speeds  of  popular 
another  page.  (See  Table  of 
This  data  based  on  interiors  and 
For  light  colored  subjects  and 
For   dark   colored   subjects  and 


films  refer  to  Exposure  Meter  Guide  on 
Contents.) 

subjects  of  medium  color. 

Interiors  close   diaphragm  one-half  stop. 

interiors  open   diaphragm   one-half  stop. 


HOME  MOVIES  FOR  JANUARY 


PAGE  31 


iiig  the  process  to  find  out  the  cover- 
age of  the  first  reflector,  then  making 
changes  if  needed. 

It  is  also  important  for  the  beginner 
to  allow  for  brightness  of  walls  and 
ceiling  when  filming  in  a  small  room. 
In  a  bathroom,  for  example,  experi- 
enced filmers  close  down  the  aperture 
one-half  to  a  full  stop  (f  :2.8  instead  of 
f  :1.9,  etc.)  to  offset  the  high  reflecting 
qualities  of  tile  and  porcelain  surfaces. 

Photofloods  are  not  normally  harm- 
ful to  eyes.  Their  brilliance  is  accentu- 
ated by  adjustment  of  eyes  to  conditions 
of  darkness.  The  trick  in  using  these 
powerful  lamps  is  to  give  subjects,  es- 
pecially children,  a  chance  to  adjust 
themselves  to  the  brilliance  before  film- 
ing is  started.  A  good  tip  is  to  turn  the 
floodlights  on  a  wall  for  a  moment  or 
two  and  then  gradually  bring  them  to 
play  on  the  subjects. 

To  save  photoflood  bulbs  and  make 
it  easier  to  judge  good  lighting  in  an 
unhurried  manner  without  the  pressure 
of  trying  to  save  floodlamps,  many  be- 
ginners use  50-watt  house  bulbs  in  place 
of  the  No.  1  photofloods,  and  100- watt 
house  lamps  in  place  of  No.  2  photo- 
floods while  arranging  the  set.  These 
ordinary  bulbs  in  reflectors  give  a  fair- 
ly accurate  indication  of  the  effect  to  be 
obtained  by  the  floodlamps.  Handling 
of  the  hot  lamps  in  making  the  change 
to  photofloods,  or  vice  versa,  can  be  fa- 
cilitated by  placing  original  corrugated 
container  over  the  bulb  before  unscrew- 
ing it. 

Once  the  amateur  "breaks  the  ice" — 
makes  his  first  attempt  at  making  mov- 
ies indoors  —  he  opens  up  a  complete 
new  field  of  activity  for  his  movie  cam- 
era. Beside  shooting  the  usual  family 
scenes,  there  is  title  making  and  anima- 
tion work — all  calling  for  use  of  artifi- 
cial light — affording  movie  making 
pleasure  the  year  'round. 


^uide  to 


in^  .  .  • 

•  Continued  from  Page  16 

But  the  next  one,  a  panorama  shot  is 
bad — very  bad.  Too  much  panning  ac- 
tion. This  must  go  out,  too. 

A  little  too  long  is  that  closeup  of 
Fred  trying  to  buckle  on  his  skis.  Evi- 
dently he  was  having  trouble.  But  in- 
stead of  shortening  this  scene,  we'll  di- 
vide it  into  three  sections  and  use  it  as 
a  running  gag — intercutting  a  section 
at  intervals  to  indicate  that  all  the  while 
the  others  were  enjoying  their  skiing, 
Fred  was  left  behind,  engrossed  in  fit- 
ting his  skis. 

Following  this  is  a  series  of  random 
shots  of  the  group  skiing.  We'll  cut 
them  all  apart  —  separate  them,  then 
join  them  together  beginning  with  the 


With  the  present  heavy 
demand  for  WESTON 
Instruments  for  de- 
fense needs,  we  hope 
you  win  be  patient 
should  you  encounter 
a  shght  delay  in  deliv- 
ery. With  its  many 
exclusive  advantages, 
plus  its  proved  depend- 
ability, you'll  find  a 
Weston  is  well  worth 
waiting  for! 


'  he  approach  of  winter  brings  this  note  of  caution  to  the  exposure- 
wise  .  .  .  use  a  dependable  exposure  meter  to  be  sure  of  repro- 
ducing each  scene  exactly  as  you  desire  .  .  .  obtaining  the  precise 
balance  you  want  between  the  deep  shadows  and  brilliant  high- 
lights. To  be  certain  of  consistently  satisfactory  winter  shots,  how- 
ever, you  also  must  be  sure  of  the  exposure  meter.  It  must  be 
extremely  flexible  in  operation  .  .  .  providing  you  with  a  simple 
and  convenient  method  of  accurately  controlling  the  film  density. 
Above  all,  it  must  provide  unfailing  dependability  in  light  measure- 
ment. Your  choice,  then,  will  be  the  time-tested  MASTER  .  .  .  with 
its  exclusive  WESTON  exposure  dial,  plus  the  reliability  of  an 
instrument  of  WESTON  manufacture.  See  the  MASTER  at  your 
dealer's  today,  or,  write  for  literature.  Weston  Electrical  Instru- 
ment Corporation,   585  Frelinghuysen  Avenue,  Newark,  N.  J. 


WESTON  £^oitm^Mm4 


^./VICTOR: 


No.250-S 


For  INDOOR  MOVIES  AND  STILLS  . . . 

in  1942 


No  100 


VICTOR  Fotoflood  Units  for  home  movies 
are  available  for  all  sizes  of  photoflood  No.520-S 
lamps.  Thirty  models  to  choose  from. 
VICTOR  Fotoflash  Units  for  all  sizes  of 
photoflash  lamps  are  available  for  use 
with  yotrr  still  camera.  Eleven  items  to 
choose  from  in  addition  to  Fotoflood  units 
suitable  for  flash  lighting. 
Among  these  you  should  be  able  to  find 
whatever  you  need  for  indoor  photo- 
graphic work  of  all  kinds  —  movies  or 
stills. 

Advertised  prices  are  subject  to  change  No.  55 
without  notice.  $  I  ^ 

See  Your  Nearest  Camera  Dealer, 
or  Write  for  Literature. 

James  H.  Smith  &  Sons  Corp. 


121  Lake  St. 


Griffith 


Indiana 


PAGE  32 


HOME  MOVIES  FOR  JANUARY 


Netv  Harrison  D  ur  aline 
MOVIE  FILTERS  and  KITS 


Snappy  new  SCRKW-IN  TYPE  MOUNTED  FILTERS 
to  fit  all  8nim.  cameras  having  WoUensak  1.9  and  3.5 
lenses.  Including  Keystone,  Bell  &  Howell,  Perfci 
iiti.i  It-v  riv  s.riale  H.Uts  .  ,  .  $2.30  each—Kits. 
;ontalning  Kodachrome  Haze  and  C-4  filters,  Snop-on 
^^h:lcl••  all.l  fill  '--  ni  l  1^  almve       .  $5.,')0. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
8351  Santa  Monica  Boulevard       Hollywood,  California 


The  Automatic  Splice  Marker 
and  Brilliant  Viewer 


including 
Excise 
Tax 


The  Baia  Motion  Picture 
Engineering  Co. 

166  Victor  Avenue        Highland  Park,  Mich. 


EVERYTHING  r^,  P  H  0  T  0  G  R  A  P  H I C 


Radiant 
Automatic 
Movie 
Screen 

Model  D 


A  brilliant  gla«B-bead  screen  surface  gives  per- 
manent unsurpassed  brilliancy.  It  stays  flat.  Will 
not  curl. 

Erected     instantly    in    three    simple  automatic 
movements.  There  is  nothing  like  the  new  Radiant 
Automatic   Screen.     Nothing   to  equal  it. 
Size  Price  Screen 

30  x40  Only  $15.25 

Handy    zipper    case,    made    of    black  water-proof 


MURPHY\ 


CEO. 
57  E.  Vth  Street 


NC 

New  York  City 


Photographic  Products 
of  Distinctive  Merit  .  .  . 


shot  of  the  group  starting  at  the  sum- 
mit, then  following  with  the  various 
shots,  spliced  together  to  give  the  illu- 
sion the  camera  picked  them  up  at  vari- 
ous points  in  their  descent  of  the  moun- 
tain. Nor  will  each  scene  be  spliced  back 
in  its  original  footage.  As  action  of  the 
skiers  progresses,  the  succeeding  scenes 
will  grow  increasingly  shorter  to  build 
for  tempo  and  a  climax.  The  climax 
will  be  the  good  shot  made  with  the 
camera  set  at  low  angle  picturing  all 
but  Fred  reaching  the  end  of  the  ski 
run,  laughing,  exhausted,  but  happy. 

That  shot  we  made  of  Fred,  after  he 
finally  got  his  skis  on  and  started  his 
descent,  we'll  cut  in  next  to  give  the  il- 
lusion he  was  just  getting  started  as  the 
rest  of  our  party  completed  the  run. 

After  we  have  edited  the  film,  ac- 
cording to  these  notes,  none  will  com- 
plain that  the  scenes  are  not  in  the  or- 
der in  which  they  were  shot.  If,  by  re- 
arranging them,  we  have  made  a  more 
interesting  picture,  we  have  accom- 
plished exactly  what  we  set  out  to  do  in 
the  beginning— to  make  a  lively,  inter- 
esting document  of  our  trip. 

We  must  not  overlook  deleting  any 
blank  frames  or  sections  of  film  fogged 
due  to  careless  threading  or  removal 
of  film  from  the  camera.  Flashing  mo- 
mentarily on  the  screen,  these  present  a 
jarring  note,  and  are  the  real  "musts" 
when  it  comes  to  trimming  unwanted 
footage. 

Home  movie  editing  can  be  down- 


right fascinating  if  the  amateur  can  pro- 
vide a  nook  or  workshop  in  which  he 
can  set  up  his  equipment  and  leave  it 
there  at  all  times.  Editing  is  something 
that  should  not  be  done  hurriedly,  and 
where  facilities  are  such  that  the  movie 
amateur  can  leave  his  film  and  equip- 
ment lie,  while  he  responds  to  the  call 
for  dinner  or  until  he  returns  home 
from  work  the  following  evening,  the 
task,  if  such  it  may  be  termed  under 
such  circumstances,  becomes  highly  en- 
joyable. 

At  the  beginning  of  this  article  is  pic- 
tured just  such  a  workshop.  Here  the 
amateur  has  provided  neat  racks  for 
holding  all  his  films  in  order;  a  well, 
but  not  expensively  equipped  editing  ta- 
ble; and  a  rack  for  holding  scenes  ready 
for  splicing.  The  whole  thing  was  de- 
signed and  built  by  the  amateur.  The 
only  accessories  he  was  required  to  pur- 
chase were  the  rewinds  and  splicer.  The 
viewing  device  he  made  himself,  using 
the  lens  of  of  an  old  toy  projector  for 
the  viewing  unit. 

A  great  deal  more  could  be  written 
about  editing  home  movies.  But  if  the 
beginning  amateur  will  proceed  slowly 
— trim  the  poor  scenes  and  the  excess 
footage  from  his  films,  then  arrange 
each  scene  according  to  its  proper  place 
in  the  continuity,  his  picture  making 
will  get  off  to  a  good  start  and  his  fu- 
ture effort  will  be  the  kind  of  movies 
he  and  his  friends  will  want  to  see  over 
and  over  again. 


^Itie  making  ^or  tlie  Le^i 


o  (lontirnted  from  Page  7,5 

auxiliary  together  by  binding  with  ad- 
hesive or  scotch  tape  at  the  edges.  Then 
place  the  unit  before  the  camera  lens, 
slipping  the  cardboard  disc  over  the  lens 
barrel.  The  thicker  the  cardboard  used 
for  the  disc,  the  greater  the  grip  will  be 
on  the  camera  lens  mount. 

The  next  step  is  to  line  up  the  cam- 
era with  the  title  card.  First  to  be  de- 
termined— even  before  purchasing  the 
auxiliary  lens — is  the  size  of  the  titling 
cards  to  be  used.  We'll  help  you  to  de- 
cide this  later.  But  let's  assume  you've 
chosen  a  title  card  4^"x35^"  in  size. 
This  will  require  shooting  at  a  distance 
12  inches  from  the  title  and  the  use  of  a 
3^  diopter  auxiliary  before  the  cam- 
era lens. 

Your  title  cards  can  be  tacked  or 
pinned  on  the  wall  and  the  camera  set 
up  exactly  12  inches  away,  measuring 
from  lens  to  title  card.  Important,  of 
course,  is  to  have  the  camera  mounted 
solidly  upon  a  tripod  or  some  other  sub- 
stantial base  that  will  not  allow  camera 
to  be  moved  even  a  fraction  of  an  inch 
during  preparation  and  filming  of  title. 


inner 


Ordinarily  few  cine  camera  view- 
finders  will  permit  accurate  centering 
of  an  object  as  close  to  the  lens  as  12 
inches  because  of  parallax — the  dififer- 
ence  between  position  of  the  axial  cen- 
ters of  lens  and  viewfinder.  Because  of 
this,  lining  up  or  "centering"  titles  has 
been  the  source  of  considerable  trouble 
to  many  movie  amateurs. 

Several  months  ago  Home  Movies 
prepared  for  its  readers  a  series  of  title 
centering  charts — one  for  each  model  of 
all  the  popular  makes  of  both  8  mm. 
and  16  mm.  cameras.  These  provided 
the  simplest  method  for  accurately  cen- 
tering the  camera  with  title  cards 
placed  at  any  distance,  and  this  method 
is  suggested  as  the  most  practical  for 
the  easy  titling  method  outlined  here. 

On  the  page  on  which  this  article  be- 
gins will  be  found  a  sample  title  cen- 
tering guide  for  the  Model  "E"  East- 
man Cine  Kodak.  The  adjacent  sketch- 
es illustrate  how  this  small  chart  may 
be  enlarged  to  guide  placement  of  any 
size  title  card.  First,  in  order  to  draw 


MOTION  PICTURE  SCREEN 
and  ACCESSORIES  CO..  INC. 
351  Wfjt  52nd  St..  New  York  City 


HOME  MOVIES  FOR  JANUARY 


PAGE  33 


the  title  centering  guide  for  your  cam- 
era, the  exact  dimensions  of  the  offset 
between  center  of  the  camera  lens  and 
front  element  of  the  viewfinder  must 
be  known.  With  these  two  dimensions 
known,  dots  are  placed  on  paper  indi- 
cating centers  of  lens  and  viewfinder, 
and  the  full  area  taken  in  by  both  view- 
finder  and  camera  lens  at  a  given  dis- 
tance is  drawn  with  pencil  and  ruler. 

This  centering  guide  is  tacked  on  the 
wall  before  the  camera  and  the  camera 
adjusted  until  the  viewfinder  area  of 
the  guide  aligns  accurately  through  the 
viewfinder.  When  this  is  accomplished, 
the  titling  area  will  be  accurately  cen- 
tered with  the  camera  lens  and  photo- 
graphing of  titles,  placed  over  the  space 
marked  "title  area,"  may  begin. 

Another  factor  that  must  be  known  is 
the  exact  field  the  camera  fitted  with 
regular  lens  (1  inch  for  16  mm.  camer- 
as, Yi  inch  for  8  mm.)  will  take  in  at  a 
given  distance.  The  following  table 
gives  this  data  to  match  the  focusing 
distances  given  in  the  diopter  lens  table 
which  appears  earlier  in  this  article : 
Diameter  Title  A  rea 

32"  ....  12%"x9>4" 
26"  ....  103^"  X  7^" 
22"  ....  8H"x6^" 
20"  ....  8  "x6  " 
16"  ....  6^"x4%" 
14"  ....  5^"x4^" 
12"  ....  4^"x3^" 
10"  ....  4  "x3  " 
8"     .     .     .     .  3>^"x2^" 

Next  to  the  problem  of  title  center- 
ing, the  lettering  of  titles  is,  perhaps 
the  average  amateur's  greatest  obstacle. 
Few  are  capable  of  lettering  by  hand 
and  those  that  do,  hesitate  when  it 
comes  to  lettering  a  mere  half-dozen  ti- 
t.'e  cards.  Fortunately  there  are  many 
ways  of  surmounting  this  lettering 
problem.  Probably  the  one  most  easily 
adapted  by  the  average  amateur  is  that 
of  lettering  the  titles  by  typewriter. 
Typewritten  titles  are  very  effective 
whether  photographed  with  positive, 
panchromatic  or  Kodachrome  film. 

If  keeping  title  expense  down  is  im- 
portant, another  expedient  is  to  use  al- 
phabet soup  letters.  These  may  be  pur- 
chased at  any  grocer.  The  average  pack- 
age, w^hich  costs  about  10  cents,  con- 
tains enough  soup  letters  to  compose 
hundreds  of  titles.  A  sufficient  number 
of  each  letter  should  be  sorted  from  the 
package  and  arranged  in  order  in  a 
cardboard  box  prepared  for  the  purpose. 
The  title  text  then  may  be  easily  com- 
posed by  placing  the  letters  in  order  on 
a  dark  background  or  title  card.  They 
may  be  fixed  to  the  title  card  with  a  lit- 
tle glue  or  rubber  adhesive.  For  colored 
titles,  alphabet  soup  letters  may  be 
painted  with  water  colors,  ink  or  show 
card  colors. 

Next  are  the  cast  plastic  title  letters 


such  as  those  marketed  by  Mittens, 
Craig,  American  Bolex,  Knight,  Qui- 
xet,  Hewitt,  and  others  and  illustrated 
at  the  beginning  of  this  article.  Letters 
of  this  type  are  available  in  a  number 
of  sizes  and  in  two  types:  those  with 
pins  for  attaching  to  solid  backgrounds, 
and  the  plain  backs  for  vertical  titler 
use  or  for  affixing  to  title  card  with 
temporary  rubber  adhesive. 

Those  who  want  to  use  a  regular 
titler  can  find  many  excellent  ones  on 
the  market  ranging  from  the  low  cost 
typewriter  titler  to  the  more  versatile 
type  like  the  Saymon-Brown  that  offers 
features  for  producing  zoom  and  flop- 
over  and  other  trick  title  effects. 

The  cinebug — the  amateur  who  likes 
to  make  his  own  movie  gadgets  and  ac- 
cessories— will  make  his  own  titler.  It 
would  be  impractical  to  attempt  here  to 
describe  or  provide  complete  plans  for 
building  the  many  types  of  titlers  now 
in  use  by  amateurs.  However  at  the 
beginning  of  this  a  r  t  i  c  le  there  are 
sketches  to  guide  the  amateur  in  build- 
ing a  simple  titler  for  straight  non-trick 
title  making. 

Unique  feature  is  that  camera  lays 
flat  on  its  side  instead  of  being  bolted 
upright  as  with  other  titlers.  This  fa- 
cilities quick  and  accurate  alignment 
of  camera  with  title  card  and  also  as- 
sures a  more  steady  camera.  Title  card 
easel  slides  forward  or  backward  on 
titler  base,  as  shown  in  Figs.  2  and  3. 
Centering  of  title  card  on  easel  is  ac- 
complished by  matching  the  guide  lines 
on  title  card  with  those  on  easel  as 
shown  in  Fig.  4. 

For  illumination,  use  regular  photo- 
floods  in  reflectors — one  at  either  side 
of  the  title  card.  Correct  exposure  is 
best  determined  by  test,  especially  when 
positive  film  is  used,  although  careful 
calculation  with  an  electric  exposure 
■  meter  will  give  dependable  results. 

Where  panchromatic  reversal  film  is 
to  be  used,  lettering  should  be  white  on 
black  title  cards.  Where  positive  film  is 
to  be  used,  title  cards  may  be  plain 
white  and  lettered  in  black.  When  the 
positive  film  is  developed,  values  will  be 
reversed :  the  lettering  will  be  white 
over  a  dark  background.  For  Koda- 
chrome titles,  dark  blue  or  red  back- 
grounds are  best  with  light  yellow  or 
white  letters. 

The  lettering  of  main  titles  should 
be  large  and  the  text  brief.  Pictorial 
or  decorative  backgrounds  are  accept- 
able for  the  main  title  but  only  plain 
backgrounds  should  be  used  for  subti- 
tles, the  text  of  which  should  be  kept 
to  a  maximum  of  three  lines  of  not 
more  than  four  or  five  words  to  the 
line.  Ample  margin  should  be  allowed 
between  the  lettering  and  edges  of  title. 

Succeeding  issues  of  Home  Movies 
will  feature  additional  articles  on  the 
advanced  stages  of  making  titles. 


For  PERMANENT 
FILM 
PROTECTION 

Against  climate,  heat, 
scratches  and  stains. 
Valuable  tor  all  films  .  .  . 
Vital  for  color  films. 


Scratches,  spots  and  fingermarks 
disfigure  colors  much  more  than 
shapes.  Distortion  from  heat  and 
emulsion  softening  can  throw  color  lay- 
ers out  of  line.  Color  films  need  deep 
seated  chemical  protection  that  surface 
lacquers  and  lubricants  cannot  provide. 

Wise  movie  makers  follow  the  good  ex- 
ample of  the  Hollywood  producers  and 
the  U.  S.  Government.  Ask  Your  Dealer. 


Better  phofo  finishers  offer  VAPORATE 
protection  for  still  negatives. 


VAPORATE  CO.,  INC.    BELL  &  HOWELL  CO. 

130  W.  46th  St.  1801  Larchmont.  Chicago 

New  York  City        '  716  N.  LaBrea.  Hollywood 


•SnS      COMPLETE  WITH  DURABLE 
•fUcJ.  FIBRE  TRIPOD  COVER 

CAMART  PROFESSIONAL  TYPE  TRIPOD 

Finely  constructed  tripod  gives  spring  or  mo- 
tor driven  camera  rigid  support  and  excep- 
tionally smooth  pan  and  tilt  movement.  Ideal 
for  all  16mm  or  35mm  Eyemo  or  Devry  cam- 
eras. Special  head  accommodates  Cine-Spe- 
cial at  no  extra  cost.  Write  for  circular. 


CAMERA-MART,//7r.70  W.455T.N.Y.C. 


I  can  shout  it  to  the  house- 
tops .  .  .  that  SOUND  is 
Eetting  noisier  and  noisier 
in  point  of  popularity  .  .  . 
that's  why  I'm  so  sold  on 
the  RCA  ...  it  sure  de- 
livers the  right  kind  of  a 
ivell-modulated  sound  .  .  . 
plus  swell  pictures. 

RCA  16  MM  SOUND  ON  FILM  CAMERA 

Sound  and  sight 

NEWS  MODEL.     .„   ,     _   _  _    .  . 

'iiicrophone   $275 

KC\  Studio  recording  galvanometer  .  .  .  metal  housing, 
fonnecting  cable,  not  including  optical  system  or  Am- 
plifier  -  -  $125 

LIBERAL  ALLOWANCE  FOR  YOUR  OLD  CAMERA 
Write  Dept.  HM  for  Special  Literature 


n  the  best  professional  manner. 

ith  1"  F:3.5  lens,  batteries  and 


PAGE  34 


HOME  MOVIES  FOR  JANUARY 


COMPARE  THE  RESULTSI 
COMPARE  THE  PRICEI 
WEIGH    THE  FACTS! 


Do  what  thousands  of 
smart  home  -  movie - 
making  enthusiasts 
are  doing  .  .  .  switch 
♦o  KIN-O  LUX  forthe 
finest  in  movie  film 
values. 


RATING 
Weston  8 
Scheiner  18° 


$3.20 

100  it. 


KIN-O  LUX.  INC.  •   i05  W.  •Wth  St.  •  New  York 


Make  just  more  scratched,  curled  or  dirty 

rianiiw  Plftt  I  ^'""^  °^  prints  —  and  they're  easy 
□anay  gilts.  ^ook  like  books 

(8'  8  X  7").  Blue,  green,  red  or  black. 
SLIDE  FILE  holds  300  slides 

2x2"  $1.00 

NEGATIVE  FILES.  3  styles,  35 
mm  (strips  or  rolls)  to  5  x  7"  $  1.00 
PRINT  ALBUM.  Loose  leaf  5 x  7". 
Acetate  covered  mounts..  .  $1.7S 

Also  larger  sizes. 
MOVIE  REEL  FILES  Sand 
16  mm  $1. SO  and  $1.95 

,1  I  stores  or  sent  ilirert  prepaid 
on  III  n.iys  Monry-Hsck  Tri.ll. 
Write  ior  fulder  showing  complete  line 


AMBERG  FILE  &  INDEX  CO.  tSJiK^l.^oli 


FAMOUS  KNIGHT  METAL  LETTERS 
FOR  MOVIE  TITLES 

AsIc  for  sam- 
ples   of  fhe 
nnost  beauti- 
ful capital 
and  lower 
case  letters 
made.  Deluxe 
sets,  225 
pieces  in  case 
with  corner 
pieces,  twee- 
zers and 
cement  $9.54 
(includes  tax) 
net,  160- 

piece  font  $7.42.    Specify  white   or   black  letters. 

KNIGHT  &  SON 

BOX  B  SENECA  FALLS,  N.  Y. 


METAL  Letters 
easy 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  VacMxxts 
BERNDT-MAURER  RECORDER 
GEO.  W.  COLBURN  LABORATORY 

II97-A  Merchandise  Mart  CHICAGO 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   and  Professional 
16mm  —  8mm 
Black  &  White,   Tinted  and  Ko^achrome 
Write  for  our  new  illustrated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N. 


Get   Better  SPLICES   with  the  new 
SEEMANN! 

New  improved  detifln 
—made  of  h*avy  gauge 
plated  mttal.  mounted 
on  hardwood  base.  An. 
chored  cement  bottle. 
^  Accurate  .  .  .  Efficient! 
For  8  or  16mm. 
A   LASTING  gift: 

At  All  Dealers! 

WHOLESALE  PHOTO  SUPPLY  CO. 

6028  SanU  Monica  Blvd..D«pt.  H M- 12,  Hoi lywood .  Cal . 


The  Reader 


MO^OCOLOR 

double-8mm  and  single-8mm.  films 
for  all  cameras.  In  bulk,  or  spooled 
ready  for  use. 

Our  Latest  Catalogue  Mailed  to  Yoi 
Promptly.  Send  Name  and  Address  to 

ESO-S  PICTURES 

"Quality    8mm  Service" 
394S  Central  St.,  Kansas  City,  Missouri 


Wants  Windback 

//  there  is  a  Revere  camera  owner 
who  has  built  a  successful  windback  for 
his  camera,  reader  Martin  would  like  to 
contact  him.  So  would  Home  Movies' 
editors. 

Gentlemen :  I  have  a  model  99  Re- 
vere 8  mm.  camera  and  desire  to  install 
a  windback.  I  have  gone  through  all 
the  back  issues  that  I  have  of  Home 
Movies  but  am  unable  to  find  anything 
regarding  a  windback  for  my  camera. 

Any  information  that  you  may  be 
able  to  give  me  regarding  such  a  device 
or  how  I  may  build  one  will  be  greatly 
appreciated.  I  have  a  complete  machine 
shop  equipped  to  do  any  such  work  that 
may  be  required. 

— Geo.  W.  Martin, 
3306  Chenault  Ave., 
Ft.  W orth,  Texas. 

Focnsinq  Troable 

The  following  summary  from  a 
reader  that's  been  shooting  home  movies 
over  twelve  years  seems  to  hit  the  nail 
on  the  head  regarding  that  focusing 
trouble  arising  when  color  and  black 
and  white  film  is  spliced  together: 

Gentlemen  :  I  follow  Mr.  Cushman's 
Title  Troubles  very  closely  and  see 
things  just  about  eye  to  eye  with  him. 
I  notice  in  the  December  issue  that  the 
question  has  come  up  again  about  the 
difficulty  of  splicing  black  and  white 
or  tinted  titles  in  with  Kodachrome 
and  that  Mr.  Cushman  is  asking  for 
readers'  suggestions.  May  I  say  that 
I  bumped  into  the  difficulty  some  years 
ago  using  positive  stock  developed  as 
negative,  that  is,  not  reversed,  and  I 
think  that  is  what  most  of  them  do. 

Well,  I  suspected  the  trouble  was  in 
the  difference  in  thickness  of  the  films, 
thinking  the  Kodachrome  was  probably 
thicker  having  three  emulsions  on  it, 
but  found  on  gauging  it  with  a  micro- 
meter gauge  that  the  positive  film  with 
its  one  emulsion  was  just  a  trifle  thick- 
er. I  then  discovered  that  the  positive 
film  bowed  in  one  direction  with  re- 
spect to  its  width  while  the  Koda- 
chrome bowed  just  the  opposite  way 
and  even  though  the  emulsion  in  both 
cases  was  on  the  same  side  toward  the 
lens.  A  very  heavy  pressure  on  the 
pressure  plate  of  the  projector  helped 
some,  but  not  so  both  would  focus  sharp 
with  one  setting. 

I  therefore  concluded  that  the  trou- 
ble was  due  to  the  combination  of  bow 
and  thickness,  so  gave  up  and  ever  since 


SPEAKS 


used  type  A  Kodachrome,  which  is  the 
only  satisfactory  solution,  so  far  as  I 
am  concerned. 

— R.  C.  Denny, 
Fresno,  Calif. 

Film  Protection 

Keeping  exposed  rolls  of  film  sepa- 
rate from  unexposed  rolls  is  often  a 
problem  for  those  who  go  afield  with  a 
several-roll  supply  of  film.  Reader  Geop- 
fert's  idea  simplifies  the  matter — insures 
against  sending  an  unexposed  roll  to  the 
processors  by  mistake. 

Dear  Sirs:  In  the  November  issue 
of  Home  Movies  there  is  described  a 
method  for  keeping  unexposed  rolls  of 
film  separate  from  those  exposed  and 
ready  for  the  processors. 

I  have,  I  believe,  a  simpler  idea.  This 
summer,  I  made  a  trip  through  the  west 
and  carried  12  rolls  of  Kodachrome. 
Before  starting  the  trip  I  numbered  each 
box  from  1  to  12;  addressed  all  the 
boxes  to  Eastman's  Chicago  processing 
station;  then  wrote  in  my  address  and 
put  postage  on  each  box. 

As  soon  as  I  completed  filming  a  roll, 
I  placed  the  film  in  its  respective  car- 
ton, then  sealed  and  mailed  it  at  the 
very  first  opportunity.  When  I  arrived 
home  from  my  trip  some  weeks  later, 
all  of  my  films  were  waiting  for  me, 
having  been  processed  and  mailed  to  my 
home  address. 

Numbering  the  boxes  from  1  to  12 
also  enabled  me  to  readily  splice  the 
rolls  of  film  together  in  chronological 
order  for  an  initial  screening. 

— /.  M.  Goepfert, 
Pontiac,  Mich. 

Sound  Idea 

This  IS  an  idea,  just  waiting  for 
some  enterprising  amateur  to  take  hold 
and  make  something  of  it. 

Gentlemen :  Here's  a  suggestion  for 
a  new  business  —  one  much  needed  by 
many  amateurs — which  you  should  help 
to  create  or  promote.  We  amateurs  need 
someone  to  make  recordings  for  us  for 
our  films,  at  moderate  cost.  If  I  knew 
of  a  reputable  concern  to  which  I  could 
send  my  200  foot  reels  of  8  mm.  film 
and  have  them  cut  a  record  for  me  with 
spoken  titles  and  appropriate  back- 
ground music,  it  would  be  worth  a  fair 
price. 

Most  of  us  amateurs  can  buy  or  bor- 
row a  home  recorder,  but  few  of  us 
have  access  to  a  library'  of  musical  rec- 
ords ample  for  our  needs.  Also  it  re- 


HOME  MOVIES  FOR  JANUARY 


PAGE  35 


quires  more  than  one  person  to  make  a 
satisfactory  recording. 

— O.  W.  Amador, 
El  Paso,  Texas. 

IVew  Cine  Club 

//  you  reside  in  vicinity  of  reader 
Lopus,  why  not  get  together  with  him 
in  organizing  a  club? 

Gentlemen :  I  am  interested  in  form- 
ing a  new  amateur  cine  club  here  in  San 
Francisco  for  8  mm.  and  16  mm.  cam- 
era owners.  Interested  movie  amateurs 
16  to  35  years  of  age  are  invited  to 
communicate  with  me. 

— Donald  Lopus, 
198  Oak  St., 
San  Francisco,  Calif. 

Swappers 

Perhaps  you  have  just  the  footage 
wanted  by  cinebugs  whose  requests  ap- 
pear below;  perhaps  you  can  shoot  the 
requested  scenes  and  get  needed  footage 
in  return: 

Dear  Editor:  Would  like  to  contact 
some  movie  amateur  who  can  supply  me 
with  25  to  35  feet  of  8  mm.  Koda- 
chrome  taken  during  the  summer  along 
the  Skyline  Drive,  Virginia.  Would  also 
like  some  shots  of  tobacco  harvesting  in 
either  North  Carolina  or  Kentucky ;  the 
Peace  Monument  at  Gettysburg;  Moc- 
casin Bend  at  Chattanooga,  Tenn. — all 
in  8  mm.  Kodachrome.  I  desire  to  buy 
this  footage  outright. 

— Rev.  A.  U.  Hauber, 
St.  Mary's  Rectory, 
Lone  Tree,  Iowa. 

Dear  Sirs:  Would  like  to  obtain  some 
8  mm.  black  and  white  footage  on  Vic- 
toria and  Vancouver,  British  Columbia  ; 
the  Canadian  Rockies;  Portal,  North 
Dakota;  and  of  Minneapolis,  St.  Paul 
and  Chicago.  I  will  pay  cash  or  swap 
scenes  of  Mt.  Shasta,  Carlsbad  Cav- 
erns, Niagara  Falls,  Nassau,  B.  W.  I., 
miscellaneous  views  of  Shanghai  and 
Peking;  and  of  mountain  climbing  in 
the  Canadian  Rockies. 

—Robert  F.  Miller, 
2426  East  Erie  Ave., 
Lorain,  Ohio. 

Dear  Sirs:  For  my  film  on  subject  of 
commercial  shark  hunting,  I  desire  to 
purchase  16  mm.  black  and  white  silent 
shots  of  live  sharks  in  the  sea — prefer- 
ably closeup  shots.  As  my  quest  for 
shark  pictures  has  covered  some  years,  I 
am  not  too  optimistic ;  but  perhaps  this 
request  will  reach  some  amateur  with 
just  the  material  I  seek.  Sharks  photo- 
graphed should  be  active,  tethered  only 
by  the  mouth,  and  definitely  not  dead 
or  out  of  the  sea.  Sub-surface  shots  of 
live  free-swimming  sharks  will  be  ac- 
ceptable. 

— Horace  S.  Mazet, 
Captain,  USMCR, 
VSNR  Aviation  Base, 
Long  Beach,  Calif. 

Gentlemen:  Wish  to  obtain  16  mm. 
Kodachrome  scenic  shots  of  Louisiana 


rice  fields ;  bales  of  cotton ;  negros  at 
work  in  cotton  fields  ;  tobacco  growing ; 
tobacco  casks  ready  for  shipment ;  herd 
of  Texas  range  cattle ;  shot  of  Lincoln's 
birthplace;  and  of  George  Washing- 
ton's estate.  Will  pay  reasonable  price 
per  foot  or  exchange  equal  footage  taken 
on  Pacific  Coast. 

■ — C.  Alan  W alker, 
4222  Vantage  Ave., 
No.  Hollywood,  Calif. 


cceddoned  .  .  . 


•  Continued  from  Page  18 

models  and  prices.  In  the  low  price 
range  is  the  Seemann,  featuring  dn,' 
scraper  or  emulsion  remover  and  novel 
pin  arrangement  for  holding  film  se- 
cure on  block  while  splicing.  Craig's 
Junior  splicer  is  another  with  likeable, 
easy-to-use  features.  Fink-Roselieve  has 
just  brought  out  an  efficient  low-cost 
splicer  which  they  claim  assures  quick, 
permanent  splices.  All  three  splicers  are 
priced  under  $5.00. 

Above  this  figure  are  the  Franklin 
Photographic  Industries'  splicer;  Bo- 
lex's  Cinea  Splicer,  and  those  manufac- 
tured by  both  Eastman  and  Bell  and 
Howell.  These  give  the  amateur  a  wide 
range  to  select  from.  All  are  adaptable 
for  either  8  mm.  or  16  mm.  film.  The 
higher  the  price  the  more  refinements. 

Selection  of  an  exposure  meter  is  an 
easy  task.  There  are  four  leading  me- 
ters— all  good :  General  Electric,  Wes- 
ton, Dejur-Amsco,  and  Photrix.  Prices 
range  from  $16.50  to  $25.00  and  selec- 
tion depends  entirely  upon  the  ama- 
teur's choice  of  refinements  and  calcu- 
lating features. 

As  to  tripods,  those  available  to  the 
amateur  are  many  and  varied.  Accepted 
as  standard  equipment  are  such  tripods 
of  sturdy  features  and  refinements  as 
the  Thalhammer,  Royal,  Bell  &  How- 
el,  Eastman,  Bass  Camera  Company's 
"Sportsman,"  and  Pagliuso  Company's 
"Hollywood"  model.  Prices  range  from 
about  $9.95  up. 

Titlers  are  available  for  certain 
makes  of  cameras  by  the  camera  man- 
ufacturer. Notable  are  those  specially 
made  for  Eastman,  Bell  and  Howell, 
Victor,  and  Keystone  cameras.  Titlers 
are  also  made  by  other  manufacturers 
which  are  adaptable  to  all  makes  of  cine 
cameras — 8  mm.  or  16  mm.  In  this 
class  are  those  marketed  by  Amerkan 
Bolex  Company,  the  "Seemann,"  by 
Wholesale  Photo  Supply  Co.,  and  the 
"4-Star"  by  Hollywood  Cine  Products 
Co.  Simplest  and  easiest  to  use  are  the 
small  "typewriter"  titlers  which  take 
title  cards  lettered  with  a  typewriter. 
Most  of  the  larger,  more  pretentious 
titlers  take  title  cards  ranging  in  size 


COMPARE  THE  RESULTS/ 
COMPARE  THE  PR/CE/ 
WBIGH    THE  FACTS/ 


Do  what  thousands  of 
smart  home-movie- 
making enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  for  the 
finest  in  movie  film 
values. 


RATING 
Weston  12 
Schelner  20" 


$3.75 

100  it. 


KIN-O-LUX,  INC.  •   105  W.  40th  St.  •  New  York 


]\OTICE 
TO  MOVIE  FAXS 

If  you  take  movies  (8mm  or  16mm)  you  simply 
cannot  afford  to  be  without  a  Free  copy  of 
the  latest  Photo  Bargain  Book  now  being  dis- 
tributed throughout  the  U.  S.  Lists  all  the  best 
moving  picture  equipment  from  all  the  leading 
manufacturers,  describes  them.  The  prices  save 
you  money  in  many  cases.  You'll  find  the  lat- 
est in  lenses,  screens,  meters,  projectors,  cam- 
eras, film,  titlers,  editing  outfits,  tripods,  books 
on  editing,  titling,  etc.  This  Bargain  Book  is 
invaluable  to  you  as  an  equipment  REFER- 
ENCE book.  Don't  wait  a  day  longer  to  send 
for  your  Free  copy.  Write  us  now. 

Central  Camera  Company 

230  S.  Wabash         Dept.  A-9        Chicago,  III. 


DO  JUSTICE  TO  YDUH  MOVIES 

«iih  PHOFESSIOIVAl  TITLES 


Get  the  same  beauti 
iuUy  illustrated  16mm 
titles  as  used  by  Mo- 
tion Picture  theatres 
everywhere. 
We're  title  makers  to 
over   10,000  theatres 
We  can  do  justice  to 
YOUR    movies.  Our 
Kodachrome  titles 
are   the  best  made. 
Inquire  todayl 


FiimniK  inBORnTORiES 


1327  S.  WABASH  AVE. 


CHICAGO,  ILL. 


LEARN  TO 

S  V  S  O  U  N  D 


PRODUCE 

FILMS 


IN  A  PROFESSIONAL  STUDIO 

Actively  engaged  In  Movie  Production.  Inte- 
rior, exterior  filming  and  recording  technique, 
script  writing,  directing.  Amateur  and  Pro- 
fessional classes  now  forming. 

Phone,  visit,  or  write  for  Folder  A. 
HARTLEY  SCHOOL   OF    FILM  MAKING 
20  West  47th  St..  New  York  LO.  3-234S 


HOME  MOVIE  PROC- 
ESSING is  easy  with  our 
light-proof  FLEXON. 
Film  completely  in- 
closed.  Faster  washing. 
Professional  results. 

Write  for  Prices  on  Rev. 
Proc.  Powders. 

The  FLEXON  CO. 

1323  Byron  Chicago 


GIBBS 
FLOOD- 
GUNS 


THE  ONLY  flood-light  that  follows  ihe  camera — 

models  for  either  still  or  movie  cameras. 

I  ARTHUR  E.  GIBBS 

l|925  N.  E.  Knott  St.  Portland.  Oregon 


.  1003   PENNSYLVANIA  AVI.   N.W.,  WASHINGTON,   D.  C. 


PAGE  36 


HOME  MOVIES  FOR  JANUARY 


COMPARE  THE  R£SULTSI 
COMPARE  THE  PRICE/ 
WEIGH    THE  FACTSI 


Do  what  thousands  of 
smart  home-movie- 
making enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  for  the 
finest  in  movie  fitm 
values. 

RATING 
Weston  50 
Tungsten  40 
Schemer  26® 
Tungsten  24" 


$6.00 


100  it. 

KIN-O-LUX.  INC.  •  105  W.  40th  St.  •  New  York 


New  A-to-Z 


COLOR 

TITLE 

OUTFIT 


$Z.50 


TITLES 


for  making 
KODACHROME 
White  or  Black 
ON  PHOTOGRAPHIC  BACKGROUNDS 

Outfit  includes:  A-to-Z  Title  Maker  (12  Alphabets, 
1600  Initials)  30  Figurettes  in  color;  Title  Frame 
(7"  X  9"  area)  12  sheets  of  8"  x  10"  clear,  washable 
Acetate  Film;  6  jars  of  special  Colors  (Red,  Yellow, 
Blue.  Green,  White,  Black),  10  Photographic  8"  x  10" 
Background  Prints:  10  sheets  8"  x  10"  Tracing  Paper; 
Brush  and  complete  instructions.  FREE  S.^^fPLE  KIT. 
Complete  outfit  at  your  dealer  or  send  S6.50  direct 
A-to-Z  MOVIE  ACCESSORIES 
175   FIFTH  AVE.,   Dept.   H33,   NEW  YORK  CITY 


CORONA 


BETTER 
BULK 
FILMS 


SAME  PRICE  FOR  I4MM  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED    100  R.  400  Ft. 

SUPER-PAN     24-li      3.15  11.60 

ORTHOCHROMATIC        12-  4      1.75  4.00 

SEMI-ORTHO    12-  4       1.30  4.25 

MACHINE  REVERSAL  PROCESSING— Double 

8  or    14mm— 100  ft.,  85c;  50  ft.,   65e:  25 

H.,  50c. 

Special  Delivery  Service  on  All  $5.00  Orders 
All  Orders  Shipped  Postpaid  Except  C.O.D. 
FREE  BOOKLET  on  home  processing  instructions, 
plans  and  formulae  with  orders. 
Single  copies,  13c. 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AVE.       BROOKLYN,  N.  Y. 


"JAPS  BOMB  U.  S.  A.!" 

A  Castle  film,  authentic,  regular  prices.  Orders 
filled  strictly  in  order  of  their  receipt.  Order 
at  once!    Cash  with  order,  please. 

JAMES  A.  PETERS 

41-B  South  Fourth  St.  AUentown,  Pa. 


8 


1  #^     REDUCED  0 

lb  TO  o 


ENLARGED 

TO 

Black  and  White  and  Kodachrome 

GEO.W.COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
II97-A  MERCHANDISE  MART 
CHICAGO 


PB  MOVIE  KIT  for  COLORFILM 

$4.75  COMPLETE 

1  PB  I^ens  Shade  and  Filter  Ilolder. 
1  PB  naze  Filter  (for  Kodachrome). 
1  PB  Tonversion  Filter   (for  conrertlng  Type  A  to 

daylight). 
1  PB  Filter  Pouch. 

For  All  Standard  Makes  of  8mm's 

PONDER  &  BESI 

1015  South  Grand  Ave.  Los  Angeles.  Calif. 


8mm  FILM  SLIHER 

Slits  16mm  width  film  to  exact  8mm  width.  Die 
cast  body,  hardened  steel  cutting  wheels.  Will 
not  scratch  film.    Precision  built.     Price  $2.50 
At   your  dealers 

RALPH  V.  HAILE  &  ASSOCIATES 
215  WALNUT  ST.  CINCINNATI,  OHIO 


from  the  typewriter  size  to  9"x  12". 

Filters,  fortunately,  are  now  avail- 
able to  the  cine  amateur  at  a  price  with- 
in reach  of  his  pocketboolc,  enabling  him 
to  readily  acquire  a  complete  set  of 
three  or  four  of  the  most  important 
filters.  Most  manufacturers  like  Harri- 
son &  Harrison,  Entico,  and  Rothco 
Products  are  marketing  complete  kits 
which  include,  beside  a  set  of  filters, 
the  filter  holder  and  sunshade. 

Chief  filters  for  panchromatic  film 
are  the  Yellow,  Orange,  Yellow-Green, 
and  Red.  For  Kodachrome  a  filter  is 
required  for  use  with  Type  A  film 
when  same  is  to  be  used  out  of  doors. 
Then  there  is  the  special  Haze  filter  for 
exterior  filming  at  high  altitudes.  Also 
there  is  the  special  filter  for  use  where 
regular  Kodachrome  is  to  be  shot  in- 
doors under  artificial  light.  Complete 
Kodachrome  filter  kits  are  supplied  by 
Harrison  Sc  Harrison,  Entico,  Rothco 
Products,  Ponder  &  Best,  as  well  as 
Eastman  Kodak  Co. 

Effects  devices  range  from  the  simple 


fading  glass  for  making  fade-ins  and 
fade-outs  while  shooting,  to  the  multi- 
effect  gadgets  such  as  Baia's  Cine 
Transito,  Jr.,  and  the  Bool  Cine  Fader, 
both  marketed  by  American  Bolex,  and 
capable  of  making  innumerable  profes- 
sional el?ects.  Leo  Caloia  used  these  two 
devices  to  marked  advantage  on  produc- 
ing "Latitude  26,"  this  month's  Movie 
of  the  Month,  described  elsewhere  in 
this  issue. 

It  would  be  presumptious  for  us  to 
attempt  to  advise  the  amateur  as  to 
which  make  or  model  of  accessory 
would  best  suit  his  purpose.  Rather  we 
suggest  that  the  amateur  go  to  his  deal- 
er who  will  demonstrate  and  explain 
the  features  of  each.  Only  in  this  way 
can  the  amateur  become  fully  acquaint- 
ed with  all  the  important  accessories 
which  are  available  to  him,  and  arrive 
at  a  decision  which  best  suits  his  pur- 
pose and  his  pocketbook. 


Wuk  iL  R[[l  FELLOWS 


FRIENDLY  FRATERNITY 


OF  MOVIE  AMATEURS 


Toward  An  Ideal 

Right  out  of  the  blue,  came  a  letter 
this  month,  containing  what  Ho?>iE 
Movies  believes  to  be  an  idea  of  great 
import  to  all  Reel  Fellows. 

So  much  so,  in  fact,  that  not  only  will 
this  publication  see  to  it  that  the  idea  is 
carried  out  to  a  definite  conclusion,  but 
will  offer  a  monthly  reward  of  some 
sort  for  the  inspiration  of  similarly 
helpful  suggestions. 

This  one  in  particular  comes  from 
Austin  E.  White,  542  Brompton  Ave., 
Chicago,  111.  His  analysis  and  approach 
toward  an  ideal  proves  beyond  a  doubt 
that  he  did  some  very^  constructive 
thinking.  Accordingly,  quoting  him 
makes  for  easier  reading  than  could  re- 
sult from  any  attempt  to  paraphrase. 
Says  Reel  Fellow  Austin  White : 

"In  the  Reel  Fellows  club,  I  think 
you  have  sponsored  an  idea  that  is  one 
of  the  finest  things  any  publication 
could  possibly  do  to  best  serve  its  poten- 
tial followers.  As  far  as  I  can  see,  you 
certainly  have  no  axe  to  grind,  other 
than  to  help  the  amateur  cinematog- 
rapher  get  more  pleasure  at  less  cost  out 
of  his  hobby. 

"It  has  been  only  six  months  since  I 
sent  in  my  dollar  and  received  my  pin, 
insignia  for  my  camera  and  my  creden- 
tials but,  in  that  time,  I  know  for  a 
fact  that  I  have  saved  over  a  hundred 
dollars  by  following  through  on  Reel 


Fellow"  tip-offs — and  undoubtedly  much 
more  value  than  that  in  my  own  com- 
munity prestige. 

"With  all  this  acknowledgment  and 
credit  to  Home  Movies,  however,  may 
I  presume  to  make  a  suggestion  which 
I  believe,  if  carried  through  to  a  con- 
clusion, would  prove  of  material  assist- 
ance in  furthering  intercommunicating 
contacts  between  fellow  members,  with 
invaluable  benefits  resulting  to  all  con- 
cerned. 

"I  am  not  overlooking,  and  I  am 
thoroughly  grateful  for,  the  manner  in 
which  you  put  me  in  touch  with  all  the 
Reel  Fellows  of  my  own  locality,  but 
my  idea  has  to  do  with  making  it  pos- 
sible for  each  member  to  get  in  direct 
touch  with  all  those  particular  members 
of  his  own  selection — no  matter  how 
far  away  their  home-town  may  be. 

"By  'particular  members'  I  mean 
SPECIALISTS  in  certain  branches  of 
endeavor.  Naturally  enough,  to  find  the 
answer  to  that,  we  will  all  need  further 
help  from  Home  Mo\aES." 

At  this  point  our  Reel  Fellow  friend 
boils  down  his  entire  idea  into  one  brief 
paragraph,  as  follows: 

"By  some  means,  issue  a  call  to  all 
Reel  Fellows  to  'rank  and  file'  them- 
selves, listing  their  preference  in  spe- 
cialization work.  Then,  if  you  will 
publish  those  preferences  or  make 
each  member  acquainted  with  such  data 


t ORDER  FOR  SUBSCRIPTION 
>me  Movies  Magazine 

12  MONTHS  FOR  $2.00  IN  U.  S. 
In  Canada,  $2.00;  Foreign — $3.00 

[.SPECIAL  OFFER:  3  Years  for  $5.00  in  the  U.  S.  A. 
nME  MOVIES 

<<0  Sunssf  Blvd.  ^ 
I  llywood,  Calif. 


  State   

□  Renewal  □  Gift 


  State   

□  New        □  Renewal       □  Gift 


Enclosed  find  $   Date    19... 


City   State   

NO  SUBSCRIPTIONS  ACCEPTED   FOR  LfSS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  JANUARY 


PAGE  37 


by  mail,  we  will  all  be  able  to  carry  on 
some  highly  constructive  correspond- 
ence with  each  other — dealing  with  that 
particular  phase  of  our  hobby  that  we 
like  best." 

White  then  goes  on  to  qualify  his 
personal  reasons  for  making  this  valu- 
able suggestion.  He  gets  to  the  proving- 
up  point  forcefully  by  citing  how  not 
only  he,  but  all  members,  might  profit 
through  such  a  procedure.  Quoting 
further : 

"For  example,  I  am  especially  keen 
about  shooting  news  events  of  all  kinds, 
so  I  would  classify  my  preference  and 
qualify  my  specialist  form  of  endeavor 
as  'News  Reel.' 

"Now  then,  if  there  were  a  file  of 
News  Reel  specialists  available,  we 
newshawks  could  all  compare  notes  to 
our  heart's  content — somewhat  similar 
to  the  manner  of  shortwave  broadcast- 
ers 'chewing  the  fat'  o\er  the  ether. 

"By  the  same  token,  there  could  be 
selected  groups  of  specialists  in  Vacation 
Pictures,  Travelogs,  Family  Albums 
and  the  like.  And  wouldn't  it  be  swell 
if  one  traveloger  could  gab  by  mail  with 
every  other  traveloger  in  a  nation  of 
Reel  Fellows !  I  feel  certain  that  a  spe- 
cialist of  that  type  would  far  rather 
talk  to  a  scenic  fan  than  to  a  fanatical 
newshawk,  such  as  I  am." 

White's  closing  paragraph  asks:  "So, 
what  do  you  think?  Is  there  anything 
worth  while  in  this  thought  of  mine,  or 
is  it  just  a  wild  dream  that  has  too 
many  impractical  earmarks  to  make  it 
work?" 

Well,  Brother  White,  to  get  it  into 
print  and  on  record  so  that  all  members 
of  the  Reel  Fellows  across  the  nation 
will  know  how  Home  Movies  feels 
about  it,  here's  your  answer : 

Your  entire  idea  is  practically  flaw- 
less. It  cannot  fail  to  work  out  for  all 


who  are  interested.  To  check  that  inter- 
est and  to  sponsor  your  idea  to  the  best 
of  its  ability,  Home  Movies  proposes 
to  send  out  a  questionnaire  to  each  Reel 
Fellow  to  get  the  very  information  you 
suggest. 

In  addition  to  the  classifications  you 
mention  in  your  letter,  two  or  three 
may  be  added.  In  short,  the  "groupings" 
on  the  questionnaires  may  read  some- 
thing like  this : 

SCENARIO  PICTURES 

(Fictionalized  stories) 
TRAVEL  PICTURES 

(Scenics  and  travelogs) 
VACATION  PICTURES 

(All  shots  enroute) 
NEWS  REEL  PICTURES 

(Events  of  all  kinds) 
FAMILY  ALBUM  PICTURES 

(Family  in  all  poses) 
DOCUMENTARY  PICTURES 

(Commercial,  flower,  plant  life) 

It  is  the  belief  of  this  department  that 
your  idea  is  too  good  to  overlook  a  sin- 
gle phase  of  its  possibilities  in  building 
it  into  something  concrete — and  of 
serviceable  value. 

As  quickly  as  possible,  you  will  hear 
the  results.  As  quickly  as  feasible,  every 
Reel  Fellow  in  the  nation  will  be  fur- 
nished with  the  compiled  information 
regarding  each  member's  particular 
forte. 

From  that  point  on,  it  will  be  every- 
body's job — and  presumable  pleasure — 
to  make  the  most  of  it. 

Here's  hoping  that  hundreds  of  other 
Reel  Fellows  will  benefit  as  you  say  you 
will. 

And  here's  a  tip  to  you,  Reel  Fellow 
White:  In  the  mail.  Home  Movies  is 
sending  you  a  full  reel  of  film  without 
charge  as  a  slight  token  of  its  gratitude 
for  constructive  thinking — in  behalf  of 
the  gang. 


^yi^ouie        tlie  ^Y\f\ontli  .  .  . 


•  Continued  from  Page  17 

groping  to  stifle  the  ring  of  an  alarm 
clock.  He  wants  to  lay  longer  abed,  just 
like  we  all  do  on  Sunday  morning !  But 
his  domineering  wife  has  other  ideas 
and  hustles  him  out  of  bed  in  a  hurry. 

Reminiscent  of  the  clever  titles  we 
used  to  see  in  the  old  silent  Mack  Sen- 
net and  Christie  Comedies,  is  that  which 
introduces  the  wife  at  this  point:  "The 
wife — she  wore  both  pairs  of  pants  in 
the  family  .  .  ."  and  again,  the  title  in- 
troducing the  husband  :  "The  Husband 
— the  sap  of  the  family  tree.  ..." 

The  husband  dons  his  slippers  and 
soon  is  joined  by  his  wife  at  breakfast. 
Here  another  hint  is  injected,  pointing 
to  the  tough  life  the  husband  leads  and 
designed  to  win  sympathy  early  for  him 
(professional    continuity    technique)  : 


he  has  but  a  small  portion  on  the  plate 
before  him  while  his  wife  eats  heartily 
from  a  well,  if  not  selfishly  adminis- 
tered serving  of  viands. 

When  it  comes  to  drinking  hot  wa- 
ter and  lemon  juice  instead  of  a  steam- 
ing cup  of  coffee,  the  husband  reneges, 
and  retires  to  slouch  in  his  easy  chair 
in  the  living  room.  His  relaxation  is 
cut  short,  however,  by  the  appearance 
of  his  wife  who  hands  him  a  list  of 
chores  to  perform,  not  the  least  of 
which  is  the  item  "Polish  Finance 
Company's  Car!" 

While  exacting  item  No.  1  (cutting 
the  lawn ),  he  becomes  thirsty;  steals  in- 
to the  backporch  and  obtains  a  large 
can  of  pineapple  juice  from  the  refriger- 
ator. Over  indulgence  in  this  beverage 


COMPARE  THE  KESULTSI 
COMPARE  THE  PRICEI 
WEIGH   THE  FACTSI 

Do  what  thousands  of 
smart  home-movie- 
making enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  for  the 
finest  in  movie  film 
values. 

RATING 
Weston  Tungsten 
100 

Scheiner  Tungsten 
29° 

(No  Outdoor 
Ratings) 


$6.40  ^^^.'^MiB^^ 


100  it 

KIN-O-LUX.  INC.  •  105  W.  ■Wth  St.  •  New  York 


MAKE  YOUR  OWN  TITLES 


New  magnetic,  third-dimen- 
sion, plastic  letters  adhere 
firmly  in  any  position  to 
metal  backgrounds  through 
paper,  cloth,  cellophane. 
91  White  Magnetic  letters. 
9x12,  or  IOkH  black  metal 
panel,  complete  $1 1.00.  Color 
Letter  Sets.  $13.50. 


At  Your  Dealer  or  Order  from 
HAMILTON  DWIGHT  COMPANY 

155  East  44th  Street  New  York  City 


For  Good  Results — Load  JFith 

ONYX  MOVIE  FIIM 

ONYX      ONYX  ONYX 
8  24  64 

100  feet  16    $2.25     $4.25  $4.75 

25  feet  8/8    1.00       1.50  1.65 

30  feet  Univex    .      .65         .95        1. 10 
RATINGS— 8-24-64  for  Daylight 
Reversal  processing  free  of  charge. 
Write  for  price  list  of  other  types  of  film 
and    chemicals    for    home  processing. 

KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO,  ILL. 


Sound  and  Silent  Color  Cartoons 
/)         for  Rent 

M  Send  for  Free  Catalogue 

ewis  Film  Service 


216  East  1st  St. 


Wichita,  Kansas 


WINDBACKS 


FRAME- 
COUNTING 

Guaranteed  accurate.  Expertly  engineered  and 
Installed.    Money-back  guarantee. 

Keystone  .  .  .  $15.00    •    Filmo  .  .  .  $19.9  5 
Eastman  .  .  .  $19.95 
Notice  :  Above  prices  effective  'til  Jan.  1,  1942,  only  ! 

Place  your  orders  now  before  advance! 
CUSTOM   BUILT  CAMERA  ACCESSORIES  CO. 
5712  Cedar  Springs  «  Dallas,  Texas 


SPECIAL  RELEASE 

CHICAGO'S  WORLD  FAIR,  1933-1934 

GET-ACQUAINTED  OFFER: 
A  Complete  Reel  of  the  above  film  (8  or  16mm) 
for  $1.00 

This  will  bring  back  memories 

CROWN  PRODUCTIONS 

159  E.  Chicago  Ave.  Chicago,  III. 


Kadachrame 

MAPS  (?^^^  FINE  TITLES 

Geo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printing 

I I97A  Merchandise  Mart,  Chicago 


PAGE  38 


HOME  MOVIES  FOR  JANUARY 


Where  to  buy  and 
rent  home  movie  films 


amateurs  are  deriving  greater  pleas- 
ure from  their  home  projectors  by  regularly 
screening  some  of  the  fine  8mm.  and  16mm. 
reductions  of  professionally  produced  mo- 
tion pictures.  The  swing  toward  "whole 
evening  show"  home  movie  programs  is  gain- 
ing tremendous  momentum  with  the  result 
that  important  photo  dealers  everywhere 
maintain  extensive  libraries  of  8mm.  an^I 
16mm.  film  subjects  which  may  be  rented  or 
purchased  outright. 

To  guide  our  readers  in  the  selection  of 
an  evening's  show.  HOME  MOVIES  will 
present  here  each  month,  sugeeste'i  Movie 
Menus — well  rounded  programs  of  movies 
suitable  for  every  member  of  the  family. 

Listed,  too.  are  some  of  the  nation's  im- 
portant dealers  who  maintain  film  libraries 
for  their  patrons'  convenience  and  who  in- 
vite you  to  consult  with  them  regarding 
your  movie  show  needs. 

CALIFORNIA 

BAKERSFIELD 

Edwards  Camera  Exchange 
1609— 19th  St. 

HOLLYWOOD 

Morgan  Camera  Shop 
6262  Sunset  Blvd. 

SAN  LUIS  OBISPO 

Shadow  Arts  Studio 
1036  Chorro  St. 

KANSAS 

WICHITA 

Lewis  Film  Exchange 
216  East  1st  St. 

MASSACHUSETTS 

BOSTON 

Don  Elder's  Film  Library 
739  Boylston  St. 

MISSOURI 

ST.  LOUIS 

Swank's  Motion  Pictures 
620  North  Skinner  Blvd. 

NEW  YORK 

NEW  YORK 

Walter  O.  Gutlohn,  Inc. 
25  West  45th  St. 

Medo  Photo  Supply 
15  West  47th  St. 

OHIO 

DAYTON 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 

PENNSYLVANIA 

ALLENTOWN 

James  A.  Peters 
41  South  4th  St. 

WISCONSIN 

MILWAUKEE 

Photoart  House 

844  North  Plankinton  Ave. 


SUGGESTED  MOVIE  MENU  FOR 
JANUARY 

Castle  Films',  "Japs  Bomb  U.  S.  A."; 
Official  Films',  "Sporthrills  of  1941"; 
Hollywood  Films  Enterprises',  "Water 
Bugs"  starring  Billy  Dooley,  and 
"Mickey  the  Niirsemaid,"  an  animated 
cartoon  subject,  featuring  Mickey 
Mouse  and  Pluto  the  dog.  Approximate 
running  time,  all  foiar  subjects,  40 
minutes. 


nets  him  a  sudden  attack  of  dizziness 
and  he  falls  into  a  faint  during  which 
he  dreams  he's  transported  to  a  tropical 
isle — the  Island  of  Ah-h-h. 

Awakening  on  the  beach  he  finds  be- 
fore him  a  bevvhiskered  beachcomber. 
Farther  ashore  is  a  sign  announcing  the 
population  of  the  island  as,  "1  beach- 
comber, 8  females."  And  then  from  be- 
hind the  thicket  of  tropical  foliage  ap- 
pear the  females,  hesitant  at  first,  and 
then  friendly.  They  perceive  our  hero's 
plight  and  two  of  the  maidens  rush  to 
his  side  to  assist  him. 

Stopping  only  to  indicate  an  increase 
of  one  to  the  island's  population,  which 
he  does  by  marking  with  charcoal  on 
the  sign,  the  notation,  "and  1  man," 
our  hero  trips  along  with  the  native 
maidens  to  their  village.  Here  he  is 
feted  and  feasted.  A  Ukulele  strums 
and  one  of  the  girls  arises  and  dances 
the  hula.  She  takes  a  shine  to  our  hero, 
and  he  to  her.  After  an  exchange  of 
"come  hither"  looks,  the  girl  runs  off 
into  the  hills  with  our  hero  playfully 
in  pursuit. 

Presently  he  falls,  exhausted.  The 
girl  he  pursued  returns  to  his  side. 
Bending  over  him,  she  lavishes  kiss- 
es upon  his  lips  while  he,  lying  there 
in  a  semi-comatose  state,  fondly  strokes 
her  hair.  But  this  illusion  is  presently 
broken  as  he  returns  to  consciousness 
and  finds  his  pet  dog  licking  his  face. 

And  as  our  hero  slowly  returns  to 
consciousness  he  sees,  although  dimly, 
the  form  of  his  wife  standing  before 
him.  The  camera  pans  from  his  dis- 
mayed expression,  down  to  the  tapping 
foot  of  his  spouse,  and  the  final  shots 
depict  the  wife  yanking  hubby  to  his 
feet  and  trundling  him  back  to  his  chore 
— mowing  the  lawn. 

There's  a  swell  running  gag  thread- 
ed through  the  picture,  too,  about  a 
beachcomber  who  combs  the  beach 
sands  with  a  large  comb !  and  spends  the 
day  digging  for  buried  bottles  of  liquor. 
What  he  eventually  finds  sends  him 
scampering  wildly  into  the  surf  and 
furnishes  one  of  the  big  laughs  in  the 
picture. 

A  more  acceptable  story  for  amateur 
filming  could  not  be  found.  Irene  Tune, 
who  portrays  the  irate  wife,  colloborat- 
ed  with  Leo  Caloia  in  writing  the  stor^" 
and  continuity-.  A  selection  of  fine  re- 
cordings were  submitted  with  the  film 
which  do  much  to  liven  its  presentation 
on  the  screen. 

Other  interesting  facts  are  contained 
in  Caloia's  letter  which  accompanied  the 
film,  part  of  which  follows  here : 

"  'Latitude  26'  is  the  result  of  efforts 
and  splendid  activities  of  the  'Snicker 
Flicker'  amateur  cine  club  of  Glendale, 
California,  of  which  I  am  a  member. 
This  club  specializes  in  producing  scen- 
ario type  pictures,  and  consists  of  a  well 
organized,  professional-like  producing 


unit.  Staff  consists  of  director,  assistant 
director,  location  manager,  commissary 
head,  property-  men  and  makeup  artist. 
Each  member  shoots  his  own  scenes  and 
edits  and  titles  his  version  of  our  pro- 
ductions as  he  sees  fit.  'Latitude  26'  is 
my  version  of  our  last  production. 

"First  we  decide  upon  the  type  story 
we  want — one  best  suited  to  the  pro- 
ducing abilities  of  the  majority  of  club 
members.  The  story  committee  meets 
and  a  general  story  conference  is  held, 
not  unlike  those  of  Hollywood  studios. 
Out  of  this  emerges  a  concrete  plot,  and 
individual  scenarios  result  from  the  ba- 
sic story  outline.  From  this  point  our  lo- 
cation manager  goes  into  action ;  the 
cast  is  chosen ;  and  soon  initial  shooting 
begins." 

Even  for  those  not  privileged  to  a 
screening  of  "Latitude  26"  it  is  evident, 
from  the  foregoing,  that  any  movie  pro- 
duction undertaken  by  a  member  of  Ca- 
loia's club  is  bound  to  succeed. 

Caloia  is  to  be  especially  commended 
for  the  excellence  of  his  photography 
evidenced  by  the  fine  trick  effects  in  the 
early  sequences  of  his  picture,  judicious 
use  of  filters  throughout,  and  the  play- 
ing of  much  of  the  story  in  vivid 
closeups. 

His  camera  is  a  16  mm.  Bolex  equip- 
ped with  one  inch  f/1.4  and  15  mm. 
lenses.  Eastman  panchromatic  film  was 
used  in  the  entire  production  except  for 
titles  which  were  shot  on  positive. 


T 


xnerimenta 


lAJorlzd/io 


r 


•  Continued  from  Page  21 
ing  purposes.  In  the  opening  of  the 
board  is  placed  a  small  panel  of  frosted 
glass.  Immediately  above  is  placed  the 
magnifying  unit  through  which  the  film 
is  viewed. 

This  may  be  a  small  magnifying  glass 
encased  in  a  plastic  frame  with  a  handle, 
obtainable  at  five  and  10  cent  stores. 
Most  of  these  have  a  small  hole  in  the 
handle.  A  bolt  is  fixed  into  the  base- 
board which  holds  this  magnifying  glass 
above  the  film  at  the  right  distance,  de- 
pendent upon  the  focal  power  of  the 
magnifying  lens. 

Guides  for  the  film  are  two  large- 
head  nails  driven  half  way  into  the 
baseboard  as  shown  in  Fig.  3. 

— /.  H.  Smethman, 
Lakehurst,  N.  J. 

Splicing  Tip 

In  splicing  Kodachrome,  particular 
care  should  be  given  to  scraping  every- 
particle  of  emulsion  from  the  splicing 
area.  Emulsion  left  on  this  area  will  be- 
come red  when  film  cement  is  applied 
and  will  show  up  noticeably  on  the 
screen  when  projected. 

— Mai  Mathison, 
Burbank,  Calif. 


HOME  MOVIES  FOR  JANUARY 


T I  n  [ 

Backgrounds 


mm 

m 

My  Movli 

PAGE  39 

These  title  cards,  which  are  a  regular  feature  of  Home 
Movies  each  month,  are  designed  especially  for  use  with  type- 
writer titlers  or  any  home-made  titler  that  will  photograph  at  a 
distance  of  8  inches.  Save  all  of  them  for  future  use.  Cut  them 
out  and  paste  on  3"x  5"  file  cards,  using  rubber  cement.  You'd 
be  surprised,  too,  how  often  one  of  these  titles  will  suggest  a 
filming  idea. 

By  EDMUND  TURNER 


PAGE  40 


HOME  MOVIES  FOR  JANUARY 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  A  Happy  New  Year  to  you  for 
1942. 

USED  CAMERAS 
8mm.  Keystone,  F:2.7  lens,  with  case,  $27.50. 
8mm.  Bell  &  Howell  Sportster,  Cooke  F:2.5  lens, 

with  case,  $57.50. 
8mm.  Cine  Kodak  Model  90,  1.9  lens,  $87.50. 
16mm.  Victor  Model  3,  3.5  fixed  focus  lens, 

$42.50. 

16mm.  Filmo  70A,  F:3.5  Cooke  lens,  case,  $45.00. 
16mm.   Simplex   De  Luxe    Magazine,    1.9  lens, 
$54.50. 

16mm.  Victor  5,  black  finish,  I"  fixed  focus  3.5, 
I"  Wollensak  1.5  focusing,  3"  Wollensak 
Telephoto  focusing,  case,  $137.50. 

16mm.  Filmo  70DA.  20mm.  Cooke  wide  angle 
F:3.5,  I"  Focusing  Cooke  F:2.8,  3"  Wollen- 
sak Telephoto  F:4,  with  case,  $225.00. 

16mm.  Filmo  Master  Auto  Load  turret  model, 
15mm.  wide  angle  F:2.7  fixed  focus,  I"  F:2.7 
focusing  Cooke,  2"  Acura  F:2.8,  with  case. 
List  $350.00;  our  price,  $247.50. 

16mm.  Movikon,  latest  model,  Sonnar  1.4, 
coupled  range  finder,  with  case,  $325.00. 

Limited  Number:  Craig  Jr.  complete  splicer 
rewind  and  editing  outfit- — fine  value  at 
$26.80. 

USED  PROJECTORS 
16mm.   Bell   &   Howell    Model   57A,   400  watt 

lamp,  with  case,  $50.00. 
Kodascope  E,  16mm.,  750  watt  lamp  and  case. 

$52.50. 

16mm.  Victor  Model  16,  750  watt  lamp  and 
case,  $75.00. 

Be  sure  to  write  Bass  before  you  trade  or  buy. 
Free  on  request:  84  page  Bass  Cine  Bargain- 
gram,  an  authority  on  silent  and  sound 
equipment. 

BASS  CAMERA  COMPANY,  Dept.  HC,  179 
W.  Madison  St.,  Chicago,  Illinois.   

•  CAMERAS,  projectors,  accessories,  bulk 
8mm. -16mm.  films,  Castle-NuArt  Film  library. 
AIRLINE  PHOTO  SUPPLY,  Box  1739,  Cleveland, 
Ohio.  

•  BOLEX  Titler,  complete;  also  Ampro  velocity 
microphone  with  stand,  never  used.  Best  offer 
takes  both.  BERNARD  ELOW,  Herkimer.  N.  Y. 

•  MAKE  your  own  8-l6mm.  action-editor.  Easy 
to  construct.  No  shutter  or  moving  parts.  Film 
appears  as  moving  pictures.  Send  $1.00  today 
for  plans  and  instructions.  BUCKLEY  BROS., 
1188  Broadview  Ave.,  Columbus,  Ohio. 

•  AURICON  Recorder,  gives  excellent  results; 
latest  model,  used  few  times.  Must  sell  be- 
cause of  expected  Army  call.  Write  Box  J-IO. 
care  HOME  MOVIES  Magazine.  

•  BOLEX  CAMERAS— an  "eight"  and  a  "six- 
teen" at  a  sacrifice!  16mm.  complete  with  1" 
f/l. 5  Wollensak  lens  specially  priced  at  $245.00 
cash.  8mm,  complete  with  1/2"  f/i. 9  Wollensak 
lens,  price  reduced  to  $237.50  for  cash.  Both 
cameras  and  lenses  like  new.  Box  J-ll,  HOME 
MOVIES  MAGAZINE.  

•  PAWNBROKERS  since  1858.  Specializing 
liberal  loans  on  cameras  anywhere  in  United 
States.  Free  information  and  appraisal.  H. 
STERN,  872  Sixth  Ave.,  New  York.   

•  750  WAH  PROJECTOR  manufactured  by 
Standard.  Has  rewind,  new  flickerless  shutter, 
variable  speeds,  titling  base.  $50  on  10-day 
money-back  guarantee.  Box  J-12,  care  HOME 
MOVIES  MAGAZINE.  

•  FEDERAL  Recorder,  16",  set  in  mahogany 
floor  cabinet.  Equipped  with  Brush  pickup. 
Presto  Synchronizer  for  making  lip-synchronized 
talking  pictures,  thirty  16"  aluminum  discs, 
and  other  extras.  Cost  $790.00.  Sell  less  than 
half.    G.  C,  2075  Tasso  St.,  Palo  Alto,  Calif. 

WANTED 

•  BELL  &  HOWELL  70-F  camera  fully  equipped 
with  200  or  400  external  magazine  and  all  the 
additional  features.  With  or  without  electric 
moTor.  Not  a  dealer.  DAVID  ISRAEL,  1148 
Griswold  St.,  Detroit,  Mich. 

•  8MM.-I6MM  proiector  owners!  Will  buy  any 
of  your  subjects  cash  or  exchange.  Highest 
prices.    ABBE  FILMS.   1265  Broadway.  N.  Y.  C. 

•  WANT  used  16mm.  sound  on  film  projector. 
IRVING  J.  BRAUN,  5125  N.  Lotus  Ave.,  Chi- 
cago. Ml. 

MISCELLANEOUS 

•  BACK  ISSUES— Home  Movies  Magazine  for 
all  months  of  year  1941,  25c  copy  postpaid. 
If  you  missed  an  important  article  or  if  you 
started  your  subscription  since  Februatv  1st, 
here  is  your  opportunity  to  secure  important 
copies  for  your  files.  HOME  MOVIES.  6060 
Sunset  Blvd.,  Hollywood.  Calif. 


•  Are  you  in  the 

marhet 

.  .  .  for  a  camera,  projector  or  some  other 
article  of  used  cine  equipment?  Seeking 
bargains  in  films,  processing  or  titlitig? 
Then  you'll  find  opportunities  in  these  clas 
sified  ads! 

•  Have  you  sottte- 
thing  to  sell 

...  or  trade — some  article  of  cine  equip- 
ment you've  outgrown  or  no  longer  use? 
Turn  it  into  cash  with  a  Home  Movies  clas- 
sified ad! 

RATES:  Ten  cents  per  word;  minimum 
charge,  S2  cash  with  order.  Closing  date, 
10th  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  8060  Sunset  Boulevard,  Holly- 
wood, California. 


TITLING 

•  TITLING  LETTERS  that  give  you  profession- 
al results.  Pin  letter  and  sanded  back  letters. 
Complete  sets  available  $4.75  up.  Write  for 
descriptive  literature.  Ask  about  Santa  Claus, 
Turkey  and  other  title  illustros.  Big  variety  of 
large  size  and  varied  style  letters  can  be 
purchased  by  the  letter  to  fill  all  titling 
needs.   MITTENS  LETTER  CO..  Redlands,  Calit. 

•  TITLING  and  Close-up  Lens  Kit — Six  sup- 
plementary lenses  of  16",  18",  20",  24",  32" 
and  40"  focal  lengths.  Can  be  used  on  all 
titlers  which  provide  for  interchange  of  lenses. 
Also  ideal  for  general  close-up  photography. 
Complete  kit,  $3.00.  Separate  lenses,  60c 
each.  Also  available  in  6",  8"  and  12"  focal 
lengths  for  ultra-closeup  work.  HOLLYWOOD 
CINE  PRODUCTS  CO.,  3221  So.  Figueroa  St.. 
Los  Angeles,  Calif. 

FILMS 

•  BULK  film- double  8  or  16,  positive  400  ft. 
$4.85,  500  ft.  $5.35;  W-24-16  Pan.  400  ft.  $12.65, 
500  ft.  $13.65;  W-64-40  Pan.  400  ft.  $13.65,  500 
ft.  $14.65.  Cameras,  projectors,  accessories 
R.  B.  CAMERA  &  PHOTO  SUPPLY  CO.,  3357 
E.  66  St.,  Cleveland,  Ohio.  

•  THE  QUALITY  of  your  movies  depends 
mostly  upon  the  processing  and  type  of  film 
used.  If  you  pay  less  for  your  film  you  are 
getting  positive  film  which  was  not  manufac- 
tured for  camera  use.  We  have  worked  five 
years  in  perfecting  our  processing  and  we 
have  killed  the  last  bug.  100'  16mm.,  $2.50. 
70'  8mm.,  $1.50,  including  processing,  daylight 
loading.  COPE  STUDIO.  3720  So.  Figueroa, 
Los  Angeles.  Calif.  

•  CUT  YOUR  film  costs!  Monochrom  Rever- 
sible  film,  8-8  or  16mm.,  95  cents  per  hundred 
feet.  S.  S.  Pan  film,  either  size,  Weston  100, 
per  100  ft.,  $3.25.  Postage  extra.  BOYD  LABS, 
Ashton.  III.  

•  8MM.  FILM,  including  processing,  daylight 
loading,  non-halation,  25  ft.  8/8mm.,  Weston 
12,  85c;  Weston  24-16,  $1.25;  Weston,  64-40, 
$1.50.  RIHER  FILM  SERVICE,  629  Lyman 
Ave.,  Oak  Park,  III. 


FILM  RELEASES 


A  Permunent 

BINDER 

for  your  personal  copies  of  HOME 
MOVIES  will  preserve  valuable 
information  for  future  use.  Binders 
handsomely  bound  in  blue  leath- 
erette, hold  12  issues. 

Selling  regularly  for  S1.50,  you 
may  obtain  yours  for  only  SI  with 
your  new  or  renewal  subscription 
to  HOME  MOVIES.  Mail  check  or 
money  order  for  S3  today — S2  for 
12  issues  of  HOME  MOVIES,  SI 
for  your  binder. 

HOME  MOVIES 

6060  Sunset  Blvd.  Hollywood,  Cal. 


«  8MM.  FILMS!  Castle  releases.  50  ft.,  180 
ft.  New  prints.  Good  used  prints.  Sales, 
Exchanges.  Trade-ins.  RIEDEL  FILMS,  Dept. 
HM.I42.  2221   W.  67th   St..  Cleveland,  Ohio. 

•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  BIdg.,   Boston,  Mass. 

•  EXCHANGE  your  old  8mm.  for  brand  new 
comedies,  cartoons,  full  subjects.  Reasonable. 
Mail  us  your  list.  ABBE  FILMS,  1265  Broadway. 
New  York. 

•  HOLLYWOOD  productions  galore!  Hun- 
dreds to  choose  from!  Bulk  film.  Bargain  lists 
/ours  for  the  asking.  ERWINE  S  CINE  LAB- 
ORATORIES,  Allentown,  Pa.  

•  8,  I6MM.  films  bought,  sold,  exchanged. 
Silent-sound  subjects,  $2.00  up.  Odd  reels. 
$1.50.  Catalog,  sample  film,  lOc.  INTER- 
NATIONAL,  2120  Strauss,  Brooklyn,  N.  Y. 

•  MOVIES  for  grownups,  8-l6nnm.  (not  arts). 
Lists,  lens  cloth,  lOc.  ISO  subjects  available. 
JENKINS,  392,  Elmira,  N.  Y.  No  postcards 
answered. 

•  PASSION  PLAY,  8mm.  complete,  $2.94. 
16mm.  sound  edition,  $32.00.  Foreign  lan- 
guage films,  many  exciting  bargains.  ART- 
CRAFT,  Ha  mmond  BIdg.,  Hammond.  Indidna. 

•  ENTERTAINMENT  Values!  Low  Prices!  Chap- 

'in's,  Lloyd  s,  PIckfora  s.  Castle's.  Old  Timer's 
Specify  16mm,  8mm,  sound.  (Illustrated  cata- 
logs, dime.)  MEGIFILMS,  340-J  West  29th  St., 
New  York. 

•  REMEMBER  Pearl  Harbor!  '  Just  released 
8mm-l6mm  silent  and  sound.  A  "must"  for 
/our  library.  Other  subjects.  Bargains  in  cam- 
eras, silent,  sound  projectors.  Films  rented 
everywhere.  Free  illustrated  catalog  (with  sam- 
ple film,  lOc).  GARDEN  CAMERA,  317  West 
50th  St.,  New  York.  

•  8-l6mm.  Films — Free  catalog  (with  sample 
film),  lOc).  PARKWAY  EXCHANGE  961  East 
Parkway,  Brooklyn,  N.  Y.  

•  NEW  films  for  old!  Different  exchange  plan 
offe  rs  subjects  at  equal-to-rental  prices  8mm 
100  to  200  feef,  $1.00.  16mm.  200  to  400  feet' 
$2.00.  Write  for  information  and  mailing  label 
ARMSTRONG  FILM  EXCHANGE,  6227  Ellis 
Ave.,  Chicago,  III.  

•  SENSATIONAL  offer!  Rent  50  8-l6mm.  full 
length  reels.  $10.00.  Films  exchanged.  Library 
subjects  sold.  GARY  FILMS,  369  E.  55th  Brook- 
lyn,  N.  Y.  ' 

•  YOURS  for  the  asking!  New  mammoth  40 
page  film  rental  catalog — silent,  sound.  8mm. 
and  16mm.  Forward  your  name  and  address  to- 
day. NATIONAL  CINEMA  SERVICE,  69  Dey 

St.,  N.  Y.  C.  

•  8MM.  200'  comedies,  cartoons,  travels.  $2.75. 
30"  X  40"  screens,  $1.95.  16mm.  sound,  silent 
projectors,  film  and  accessories.  Write  for  free 
bargain  bulletin.  ZENITH,  308  West  44th  St 

New  York. 


PROCESSING  SERVICE 

•  MOTION  picture  processing.  100'  16mm 
75c;  50'  16mm.,  50c;  25'  8/8mm.  35c- 25' 8mm. 
25c.  RITTER  FILM  SERVICE,  629  Lyman  Ave. 
Oak  Park,  III. 

HOBBY  BOOKS 

•  Are  you  a  Deg>ner"  in  the  ranks  of  arr>a. 
teur  movie  makers?  Would  you  like  to  know 
how  to  use  your  camera  to  the  very  best  ad- 
vantage, yet  avoid  the  mistakes  and  wasted 
film  that  so  often  results  from  lack  of  knowl- 
edge of  fundamentals  of  cine  camera  opera- 
tion? Then  order  a  copy  of  "How  to  Use  a 
Movie  Camera."   Just  50c,  and  well  worth  it. 

Would  you  like  to  learn  how  to  process  your 
own  movie  film  so  that  you  can  buy  inexpen- 
sive film  in  bulk?  Let  us  send  you  "How  to 
Process  Home  Movie  Film,"  a  book  chock 
full  of  instructions  and  advice  by  experts  plus 
complete,  easy-to-understand  plans  for  build- 
ing your  own  simple  processing  equipment. 
Sent  postpaid  for  50c. 

Would  you  like  to  learn  how  to  make  your 
own  titles — what  equipment  to  use — what  ex- 
posure to  use — all  about  auxiliary  lenses — title 
building  a  very  simple  and  versatile  home 
movie  titler?  Then  send  for  "How  to  Title 
Home  Movies" — the  latest  and  one  of  the 
most  authentic  books  ever  written  on  the  jub- 
iect.  Price  $1 .00  per  copy.  We  pay  the  postage. 

VER  HALEN  PUBLICATIONS 
4060  Sunset  Blvd.         •         Hollywood,  C«l"rf 


AN  IMPORTANT  ANNOUNCEMENT 

FOR    REEL  FELLOWS  AND 

PROSPECTIVE  MEMBERS 

FOR  THE  NEXT  five  months,  HOME  MOVIES  plans  to  increase  its  spe- 
cial service  to  all  Reel  Fellows,  The  amazing  growth  of  membership  in 
this  friendly  fraternity  of  movie  amateurs  demands  a  broader  scope  of 
accomplishment.  If  you  are  not  a  memljer,  do  your  joining  quickly — 
but  right  ]NO\^  .  The  fun  is  on  the  fire.  And  the  grand  total  charge  is  still 
only  81  to  cover  the  actual  cost  of  providing  you  with — 


A  HA\DSOME  GOLD  pin  (actual  size  reproduced  herewith),  the  same 
emblem  on  an  insignia  for  identifying  your  camera,  six  feet  of  leader 
bearing  the  animated  copy,  "Member  of  Reel  Fellows,"  and  your  official 
Reel  Fellows  credential  card.  All  these  you  get  for  one  lonesome  buck, 
but  that's  only  the  beginning. 


THERE  ARE  SCORES  of  ways  for  HOME  MOVIES  to  further  reward 
you.  and  it  wants  to  do  just  that.  Turn  to  the  Reel  Fellows  department  in 
this  issue  and  read  what  one  member  asked  for.  Does  he  get  it?  ^\  ell. 
rather — and  a  full  roll  of  film,  free — to  boot  I  And.  what's  more,  every 
one  of  you  members  benefit  through  his  request. 


THAT'S  THE  PRINCIPLE  of  the  Big  Thought.  \^liat"s  your  idea  of  what 
can  be  done  by  the  Reel  Fellows  Club  to  better  serve  its  members  and  the 
cause  of  Reel  Fellowship?  rite  your  ideas  short,  or  write  them  long,  but 
send  them  in  pronto.  The  best  idea  of  the  month  gets  you  a  free  roll  of 
film,  too. 


IF  YOU'RE  a  member,  it'll  cost  you  only  the  postage  stamp  Uncle  Sam 
demands  for  delivering  your  idea.  If  you  are  a  prospective  member, 
attach  a  dollar  and  get  the  works! 

Read  the  Story  of  Austin  White  in  the  Reel  FelloicsColumn,  This  Issue,  and  You'//  Get  the  Idea  Quickly. 


*eg  o/or  Kod^chrome,  for  '  TighU' ' 
and  "Sixteens,"  makes  full -color 
movies  outdoors — or  indoors  when 
blue  Daylight  Photofloods  supply  the 

illumination. 

Type  A  Kodachrome,  especially  color 
balanced  for  indoor  Photoilood  filmini| 
—may  be  adapted  for  outdoor  filming 
at  standard  exposures  by  meazu  of  an 
inexpensive  "Daylight"  filter. 

Cine-Kodak  Kodachrome  Prices 

8-mm.  rolls,  $3.65;  Q- mm .  maga- 
zines, $4;  16-mm.  100-foot  rolls,  $8,55, 
16-mm.  magazines,  $5. 

All  Prices  Include  Processing 


7^, 


.A 


;  1 


\ 


Cme-fCedok  Eight  "Pan,"  for  8-mm 
daylight  movies — $2.15  per  roll. 
Gni-Kodak  Bghf  Super-X,  for  o-' 

door  or  indoor  8-mm.  movies — roi-^ 
$2.40;  magazines,  $2.70. 

16-mm.  Cini-Kodak  Safety  "Pun,*^ 

for    outdoor  movies — 100-ft. 
$4.80. 

16-mm,   Cini-Kodak  Super-X, 

outdoor    or    indoor  movies — IC 
rolls,  $6.40,  magazines,  $3.75. 

16-mm.  Cini-Kodak  Super-XX, 
poor-light  movies  indoors  or  out — IC 
ft.  roUs,  $7.20,  magazines,  $4.30. 
All  Price!  Include  Precetsing 

Eottmon  Kodak  Co.,  Rochester,  N.  T. 


THESE  FILMS  ''MAKE"  THE  MOVIE  . 


Price  Ije 

YEARLY  SUBSCRIPTION.  $2.00 


HOME  MOV 


ebruary  •  19 11 


HOLLYWOOD'S  MAGAZINE  FOR  THL  MOVIE  AMATEVIS 


/ 


timely 

-  to'  V®"' 
home  movie 

library  •  •  ■ 

fans! 

AVAILABLE  400  FEET 
16mm    SILENT  ONLY 

$12.00 


give  em  \mm\ 

Screen  an  animated  cartoon  on  your  movie  program 


...more  than  ever 


ADVENTURES  in  DREAMEAKD 

Features  Oswald  Rabbit  in  a  niglitmare  in  which  house- 
hold objects  come  to  life  in  grotesque  size  to  plague  him. 
Highlight  is  Oswald's  duel  with  tube  of  tooth  paste. 
Order  by  number — 12-A. 

100  Ft.  16mm  S3.00 

50  Ft.    8mm.    1.50 


RED  HDT  RUIEETS 

With  Donald  Duck  and  Mickey  Mouse.  Pursued  by  vil- 
lainous Peg  Leg  Pete  in  an  old  saw  mill,  Donald  and 
Mickey  almost  lose  their  lives  before  a  whirring  circular 
saw  until  the  saw  breaks  loose  and  turns  on  Peg  Leg. 
Order  by  number — 1553-A. 

100  Ft.  16mm.  S3.00 

50  Ft.     8mm.   1.50 


Order  from  your  local  Photo  Dealer  or  direct  from 


HOLLYWOOD  FILM  ElVTERPRISES, 


6060  SUNSET  BOULEVARD 


HOLLYWOOD.  CALIFi 


.VISORy  EDITORS 

IRA.  K.  BAUM&ARDNER 

Peona  Cinema  Club 

E1R  BEZEK 

Chicago  Cinema  Club 

.  \MES  BIALSON 

amateur  K/lot!on  Picture  Club  of  St.  Louis 

.  OSS  BROWN 

Dallas  Cinema  Club 

^/.TER  BRACKEN 

The  8-16  Movie  Club,  Philadelphia,  P«. 

;  UDE  W.  A.  CADAREHE 

Los  Angeles  8mm  Club 

^.IMERSON  CLYMA 

I        Detroit  Society  of  Cinematographer* 

IJ;ELL  a.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

:i'IL  DVORAK 

Suburban  Amateur  Movie  Club 

^RHUR  E.  GIBBS 

1  Portland  Cine  Club 


\  A.  HOOK 


Seattle  8mm  Club 


.lED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

NESTELL 

Cinemen  Club 

*CISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

lERT  B.  PETERSON 

Metropolitan  Cine  Club 

:iE  RIEBETH 

Minneapolis  Cine  Club 

HEO.  ROTH 

Sherman  Clay  Movie  Club 

).  ROUNTREE 

Bay  Empire  8mtn  Movie  Club 

^UL  SNYDER 

Norfolk  Amateur  Movie  Club 

i)  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 
.-.  SISSEL 

Austin  Movie  Club 

5  C.  ENION  SMITH 

Metro  Movie  Club  of  Chicago 


•  d  as  Second-Class  MaHer,  May  i,  l?38.  at 
>stoffice  at  Los  Angeles,  Calif.,  under  the 
Act  of  March  3,  1879. 
>  iption  rates:  U.  S.  $2.00  per  year.  Canada 
i  foreign    Countries,    $3.00   per   year.  Single 
3    2Sc.    Canadian  and  Foreign  single  copies 
Copyright,  1940,  by  Ver  Halen  Publications. 
Advertising   rates  on  application. 


.  nome  

MOVIES 


Reg.  U.  S.  Pal.  Off. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.    Price  25c  per  copy  in 
U.  5.   No  part  of  magazine  may  be  reprinted  without 
specific  permission. 

Member  Audit  Bureau  of  Circulalions 


CONTENTS  FOR  FEBRUARY,  1942 

INFORMATION  PLEASE    46 

ONE  REEL  MOVIES   48 

TITLE  TROUBLES — By  George  Cusli/itan   50 

WITH  THE  REEL  FELLOWS   52 

it's  NEW  TO  ME   54 

MOVIE  AMATEURS  ENLISTING  FOR  DEFENSE  By  Curtis  Randall .  .  57 

WHAT  BEGINNERS  SHOULD  KNOW  ABOUT  LENSES 

— By  Stanley  E.  A  ndrews  58 

SOME  TRICK  DEVICES  FOR  TRICK  PHOTOGRAPHY 

—By  George  A.  Gauld  59 

MAKE  'em  INTERESTING  TO  OTHERS — By  Mabel  T.  Waters   60 

FULL  PAGE  TITLE  BACKGROUND  ILLUSTRATION 

—By  H.  C.  A.  Von  Schoenfeldt  61 

here's  WHAT  TO  FILM  IN  NEW  MEXICO — By  Kenneth  Allen.  ...  62 

HOW  FILM  SPEEDS  ARE  DETERMINED  By  IV.  A.  Reedy   63 

MOVIE  OF  THE  MONTH — By  J.  H.  Schoen   64 

REVIEWS  AND  CRITICISM  OF  AMATEURS'  FILMS  By  The  Editors.  65 

EXPERIMENTAL  CINE  WORKSHOP   66 

EMULSION  RATINGS  FOR  FILMS   74 

TITLE  BACKGROUNDS — By  Edmund  Turner   83 


CHAS.  J.  Ver  HALEN 

PUBLISHER 


C.  J.  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 

6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 


NEW  YORK  OFFICE 

Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


FEBRUARY 


NUMBER  2 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  sponsored 
by  Home  Movies  maga- 
zine. Your  membership  is 
invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
J.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S    MAGAZINE    FOR   THE    MOVIE  AMATEUR 


PACE  46 


HOME  MOVIES  FOR  FEBRUARY 


Yon'U  Make 


with  the 

BaTlee  Cine -Color 

FILTER  KIT 

$6^0 


You  can  get  really  excellent  color 
movies  with  the  right  filters.  And 
here  are  the  filters  you  need,  preci- 
sion ground  of  optical  glass,  com- 
pactly placed  in  a  leather  filter  case 
with  individual  pockets — complete 
■with  lenshade  filter-holder  combina- 
tion, at  a  bargain  price. 

The  set  includes  a  polarizing  filter 
for  darkening  skies  wthout  color  dis- 
tortion and  reducing  color-disturbing 
glare  indoors  or  out  ...  a  "must"  for 
good  color  shots;  a  Type  A  filter  for 
shooting  indoor  Kodachrome  outdoors; 
and  a  haze  fiher  to  absorb  the  ultra- 
violet rays  that  overtone  blue. 

The  Baylee  Filter  Kit  comes  in  sizes 
to  fit  most  standard  movie  cameras. 
You'll  find  few  such  filter  buys  .  .  . 
and  the  quantity  is  limited  ...  so 
you'd  better  see  it  TODAY. 

MAIL  ORDERS  FILLED 


110  West  32nd  Street,  N.  Y. 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 
Established  1898 


rmaiion 


mm 


Backwinding  Magazines  (Leslie 
Hayworth,  Minneapolis,  Minn.) 

Q.  I've  been  told  that  one  of  the  out- 
standing features  of  Eastman's  new 
magazine  "eight"  is  the  fact  film  can  be 
wound  back  in  camera  without  need  for 
special  backwind  device.  Is  this  true? 
How  is  backwinding  accomplished? 

A.  The  Cine  Kodak  model  90  can 
be  made  to  backwind  the  film  simply  by 
taking  out  the  magazine  and  reversing 
it,  then  running  the  camera  with  the 
lens  capped  until  the  desired  frame  of 
film  is  reached  where  shooting  is  to  be 
resumed. 

However,  some  amateurs  who  have 
followed  this  practice  report  that  the 
film  in  the  magazine  may  jam,  because 
it  loosens  up  on  the  takeup  spool  with- 
in the  chamber.  This  can  be  overcome 
by  winding  up  the  film  by  hand.  Insert 
a  key  or  other  object  into  the  hole  in 
side  of  magazine  in  which  is  located 
the  film  winding  shaft.  This  will  push 
the  shaft  through  the  other  side  far 
enough  so  it  can  be  gripped  with  the 
fingers  and  turned  to  wind  up  loose 
film. 

Blue  PhotoHoods  (J.  H.  Patois, 
Gadsden,  Alabama) 

Q.  Currently  advertised  are  new- 
photoflood  lamps  with  a  bluish  color. 
What  is  their  purpose — how  and  when 
should  they  be  used? 

A.  Daylight  (blue)  Photofloods  are 
especially  adaptable  to  supplementing 
daylight  in  making  indoor  shots  with 
Kodachrome.  For  example  you  might 
have  a  shot  you  want  to  make  where 
subject  and  background  are  illuminated 
fairly  well  with  sunlight  coming 
through  window,  yet  wish  to  gain  add- 
ed illumination  on  subject's  face  or  on 
background  objects.  Ordinary  photo- 
floods,  if  used,  would  give  a  reddish 
cast  to  the  scene.  The  newer  blue 
photofloods  supply  light  wixh  correct 
color  balance  for  regular  Kodachrome 
under  such  conditions. 

Also  Daylight  Photofloods  are  better 
for  illuminating  titles  where  same  are 
to  be  filmed  with  positive  film.  Better 
contrast  results  when  blue  light  is  used 
with  this  film. 

Where  Daylight  Photofloods  are 
used  to  supplement  daylight  illumina- 
tion in  indoor  filming,  daylight  film 
ratings  should  be  used  in  calculating 
exposure. 

Playing  Records  (Kent  Dunham, 
Pawtucket,  R.  I.) 

Q.  I  plan  to  purchase  a  recorder  for 
cutting  records  to  play  sound,  music, 


•  Readers:  This  department  is  for 
your  benefit.  Send  in  your  problems 
and  our  technical  board  of  professional 
cameramen  will  answer  your  question 
in  these  columns.  If  an  answer  by  mail 
is  desired,  enclose  addressed  stamped 
envelope. 


and  dialogue  with  my  16  mm.  movies. 
However,  one  company  claims  their 
recordings  will  play  for  a  maximum  of 
12  minutes,  while  others  state  theirs 
will  play  fully  15  minutes.  Please  ad- 
vise what  is  the  correct  playing  time  for 
a  16"  record  at  SJYi  revolutions  per 
minute. 

A.  The  length  of  time  a  recording 
will  play  depends  entirely  upon  how  it 
was  cut — the  number  of  lines  per  inch. 
Some  recorders  can  be  adjusted  to  cut 
grooves  or  "lines"  real  close  together, 
while  others  cut  at  a  set  number  of 
lines  to  the  inch.  The  more  grooves  or 
"lines"  cut  to  the  inch,  the  longer  the 
record  will  play. 

However,  the  closer  the  lines  are  cut, 
the  greater  the  possibility  that  the 
pickup  arm  will  vibrate  out  of  its 
groove  on  high  frequencies.  Close  cut- 
ting is  usually  employed  only  where 
the  entire  recording  consists  of  voice 
commentary  with  little  variation  in 
tonal  range  of  the  sound. 

Rear  Projection  (Stanley  Reed,  Salt 
Lake  City,  Utah.) 

Q.  In  shooting  titles  with  moving 
backgrounds  projected  on  a  translucent 
screen,  I've  encountered  trouble  in  ob- 
taining satisfactory  exposures.  I  use  an 
electric  exposure  meter  consistently. 

•  Continued  on  Page  71 


INCREASE  YOUR  FUN 
by  learning  to  process  your  own 
movie  films.  It's  easy  and  productive 
of  real  enjoyment.  "How  to  Reverse 
Movie  Film,"  published  by  HOME 
MOVIES,  is  the  leading  textbook  in 
this  field  for  the  amateur.  It  illus- 
trates and  describes  how  to  build 
home  processing  equipment;  gives 
all  popular  reversal  formulas  and 
tells  how  to  intensify  or  reduce  over- 
or  under-developed  films.  Send  50 
cents  to  HOME  MOVIES  today  for 
this  valuable  addition  to  your  hobby 
library. 


HOME  MOVIES  FOR  FEBRUARY 


PACE  47 


HIMEDUNDMR  HRE ! BmrjuNt 

coMimmos iH moN! 


THE  THRILL  OF  A  LIFETIME  for  every  projector  owner! 
Actual  pictures  of  unbelievably  daring  raids  on  Nazis' 
Norwegian  strongholds!  Sea  and  air  forces  advancing  to 
attack!  Flaming  guns!  Assault  boats  under  fire!  House 
to  house  fighting!  Demolition  squads  at  work!  Huge  ex- 
plosions! Nazi  planes  shot  down!  Surrender  of  garrisons! 
Daringly  filmed  at  close  range!  Every  foot  authentic! 
The  most  startling  picture  you've  ever  seen!  Own  it  now 
for  less  than  the  cost  of  unexposed  film! 

All  Castit  16  MM  films  are  processed  by  VAP-O-RATE.  All  Castle  8  MM  are  also  treated. 


Please  send  me  "BRITAIN'S  COMMAN- 
DOS IN  ACTION,"  In  the  size  and  edition 
checked. 

Name 

8  mm. 

Headline  $^  T^C 
50  Feet       1  •/  0 

Complete  $c 

180  Feet  D.DKf 

rny 

16  mm. 

Headlines^  C 
100  Feet  O 

Complete  $Q  rr  C 
360  Feet  O./D 

5»ofA  HM-2 

Sound  i-f\ 
350  Feet  1/^  .JVi 

RCABLDG.  NEW  YORK. 


FIELD  BIDG.  CHICAGO 


RUSS  BLDG.  SAN  FRANCISCO 


.J 


PACE  48 


HOME  MOVIES  FOR  FEBRUARY 


One  W< 


owes 


GOERZ 

KINO-HYPAR 
LENSES  ^ 

f:2.7  and  f:3  fsT 

For  regular  and  color  \3g^ 
movies    of    surprising  '^^^ 
quality  —  high  chro- 
matic  correction  .  .  . 


I  Focal  lengths  15mm  to  100mm  —  can  be  fitted 
I  in  suitable  focusing  mounts  to  Amateur  and 
I  Professional  Movie  Cameras. 


{    GOERZ  Reflex  FOCUSER 

S  —  Patented  — 

iFor  16mm  Movie  Cameras  —  voids  PARALLAX 
between  finder  and   lens  —  provides  full-slio 

I  ground-glass  image  magnified  10  times.  Adapt- 

I  able  to  lenses  V  and  up.    Also  useful  as  ex- 

j  tension  tube  for  shorter  focus  lenses  for  close- 

I  ups.    Extensively  used  in  shooting  surgical  op- 

i  erations,  small  animal  life,  etc. 


{  GOERZ  Parnllax-Free  FOCUSER 
and  FIELD   FiNDER  CONTROL 

{  No  more  off-center  pictures,  for  Filmo  121  and 
i  Simplex-Pockette  magnifies  4  and  8x. 

X  For  Detailed  Information  Address 

!  Dept.  HM-2 

j  C.  p.  Goerz  American  Optical  Co. 

{  317  East  34th  St.,  New  York  | 

American  LensMaiters  Since1899 


Such  Swell  Pictures! 


Now  at  last  you  can  get  make-up  specially 
developed  for  your  black-and-white  photogra- 
phy. Subdue  bad  features,  achieve  flattering 
movie-quality  pictures  and  save  retouching! 

Hampden's  Photographic  Make-up  is  a  com- 
plete easy-to-use  kit  for  all  your  make-up 
needs.  It  comes  in  the  new  stick  form  with 
full  instructions  on  how  to  use! 

Creamy  •  non-greasy  •  blends  perfectly  • 
easy  to  remove  •  conceals  minor  defects  • 
gives  the  skin  a  beautiful,  smooth,  satiny  finish. 

Save  time,  trouble,  wasted  film  and  have 
more  beautiful,  natural-looking  pictures.  Get 
your  kit  at  any  photographic  store  or  from 
Hampden  Sales,  251  Fifth  Ave.,  New  York. 


PHOTOGRAPHIC  MAKE-UP 


strange  I\'ew  World 

Believing  that  most  home  movie  reels 
of  babies  failed  to  show  the  infant's  re- 
action to  the  world,  I  decided  to  upset 
the  normal  procedure  in  taking  pictures 
of  our  child  during  his  first  year  of  life. 

So,  in  addition  to  the  usual  shots 
showing  his  development  over  the  pe- 
riod of  twelve  months,  I  also  filmed 
various  amusing  expressions  of  the  baby 
to  fit  into  a  continuity  I  had  in  mind, 
to  be  called  "This  Strange  New 
World." 

Putting  myself  in  the  position  of  a 
newcomer  on  this  planet,  I  soon  began 
to  think  of  many  reactions  to  individ- 
uals and  objects  that  a  baby  might  have. 
How  true  they  were,  nobody,  not  even 
the  baby,  will  ever  know. 

I  chose  several  cooperative  friends 
and  relatives  to  portray  various  types 
of  characters  found  in  real  life:  the 
gushy  old  maid,  the  baby-talking  widow 
of  comfortable  proportions,  the  grumpy 
old  man,  the  embarrassed  bachelor  who 
can't  think  of  any  way  to  entertain  a 
baby  except  to  pinch  him  too  hard  in 
the  cheek  or  elsewhere,  and  the  like. 
These  I  filmed  from  a  low  angle  as  if 
the  camera  lens  were  the  eyes  of  the 
baby  looking  up  at  these  strange  persons. 
In  the  completed  reel,  after  each  such 
shot  I  cut  in  with  an  expression  of  the 
baby  that  seemed  an  appropriate  re- 
action to  the  adult  type  portrayed.  You 
may  be  sure  that  Mother  and  Dad  were 
pictured  in  a  flattering  way  and  with  a 
complimentary  reaction  from  the  baby! 

Suitable  subtitles  carried  out  the 
theme  and  identified  beyond  doubt  the 
various  types  and  the  thoughts  of  the 
baby  as  the  film  pictured  him  in  some 
amusing  expression. 

— John  Anderson,  Detroit. 

Time  in  Reverse 

The  problem  of  bringing  order  out 
of  the  chaos  of  my  assorted  sequences 
of  baby  Catherine  in  action  during  her 
first  year  finally  was  solved  by  a  con- 
tinuity that  proved  amusing  to  many 
people  outside  the  direct  family  circle. 

I  titled  the  reel,  "The  Good  Old 
Days"  and  started  in  with  Catherine 
on  her  first  birthday.  I  had  happened 
to  catch  her  in  a  pose  that  seemed  to 
indicate  she  was  haranguing  a  multi- 
tude, but  this  was  simply  luck  and 
wasn't  necessarily  a  requirement  for  the 
reel.  "Listen,"  read  the  subtitle,  "you 
may  think  I  have  it  soft  now.  but  I 
liked  it  better  in  the  good  old  days 
when  I  was  younger  .  .  ." 

In  successive  scenes,  the  movies  took 
her  back  from  her  first  birthday  on 
down  to  the  time  she  first  arrived  at 
our  home.  Each  sequence  was  titled  in 


•  //  you  have  an  idea  for  a  short 
movie,  something  easy  to  film — send 
it  to  the  editors  for  publication  in 
this  department.  Ideas  that  are  pub- 
lished H^ill  bring  the  contributors  a 
100  ft.  16mm  or  50  ft.  8mm  film  sub- 
ject selected  from  the  catalogs  of  our 
advertisers.  Address  contributions  to 
ONE  REEL  MOVIES,  Home  Movies 
Magazine,  6060  Sunset,  Hollyv:;ood. 


such  a  way  as  to  show  how  Catherine's 
life  was  so  much  easier  than  it  was 
when  she  was  one  year  old. 

Some  of  these  titles  show  how  the 
scenes  were  treated:  "I  Didn't  Have  to 
Feed  Myself,"  "I  Didn't  Have  to  An- 
swer Questions,"  "Everybody  Thought 
I  Was  Cute,"  "I  Had  Breakfast  in 
Bed,"  "I  Had  the  Crawl  of  the 
House,"  "I  Knew  Where  My  Next 
Meal  Was  Coming  From,"  "I  Had  A 
Couple  of  Boy  Friends,"  "I  Didn't 
Wear  So  Many  Clothes,"  etc. 

— Roy  Andrevis,  Indianapolis. 

An  Adopted  Cliild 

When  we  adopted  a  baby  through  a 
home-finding  agency  in  our  state,  we 
made  immediate  preparations  for  a 
home  movie  reel  that  would  tell  our 
adopted  son,  when  he  was  old  enough 
to  know,  that  his  parents  weren't  his 
own  flesh  and  blood. 

We  devised  a  scenario,  in  the  filming 
of  which  we  had  the  able  assistance  of 
a  friend  who  took  the  pictures.  The 
reel  opens  with  a  shot  of  my  wife  dis- 
cussing with  me  the  possibility  of  adopt- 
ing a  child.  We  finally  decide  to  do  so. 
Then  the  film  shows  us  in  exterior 
shots  entering  a  hospital,  several  homes, 
and  an  orphanage,  to  look  at  babies. 
After  each  of  these  scenes,  we  cut  in 
with  sequences  in  which  we  are  shown 
looking  at  babies,  most  of  which  were 
in  the  homes  of  friends  and  relatives. 

As  the  camera  takes  us  to  these  places 
and  shows  us  looking  at  adoption  pros- 
pects, in  each  case  we  both  shake  our 
heads  in  disapproval.  Every  baby  is  un- 
satisfactory and  doesn't  measure  up  to 
our  standards,  except  the  one  we  finally 
choose.  After  the  build-up  to  this  point 
our  expression  of  hearty  approval  and 
"love-at-first-sight"  when  we  see  our 
future  son  is  ample  evidence  of  our  dis- 
criminating choice.  The  film  ends  with 
our  taking  the  baby  home. 

We  are  now  hoping  that  when  our 
boy  is  old  enough  to  understand,  he  will 
get  the  idea  he  was  chosen  from  many 
possible  babies,  instead  of  being  one 
who  arrived  at  our  house  without  our 
being  able  to  see  him  first. 

— J.  A.  Allen,  Baton  Rouge,  La. 


4Za>t[0)uyuiyju  M 

CUoo4e>  "^Ue  PneclUcut  B444U 


■ifltfri^taiBifiTi^ilTii-'fn'lliitin'lm 


All  Re^^l^ 


are  b^'*^  ^'''^od^»^°'°"^ 


'''""It  5  speeds-  ^nh 
ab'.e- 


REVERE  "80" 
PROJECTOR 

gives  you  precision  con- 
struction at  no  extra  cost. 
It  leads  in  features  essen- 
tial to  clear  projection, 
dependability,  and  com- 
plete film  protection. 

•  Heavy-duty  AC-DC  motor. 

•  High-ratio   duplex  shuttle 
film  movement. 

•  Fully  enclosed  mechanism 
for  drive  and  power  rewind. 

•  Radio  interference  elimina- 
tor. 

•  Manual  clutch  for  "stills." 

Complete  with  proven 
long-life  500-watt  lamp, 
fast  F  1 .6  lens,  and  one 
300-foot  reel,  $75.00. 


REVERE  "85" 
PROJECTOR 

Same  as  "80"  plus 
Micro  -  Tilt,  Duo  -  Shield 
Light  Diffuser,  Beam 
Threading  Light  and  Car- 
rying Case,  $89.50. 


Revere 


CAMERAandPROJECTOR 


To  have  home  movies  that  are  absolutely 
steady,  brilliant,  and  sharp,  you  need  preci- 
sion construction  in  both  the  camera  and  the 
projector. 

The  Revere  8mm  Camera,  embodying  many 
advanced  features,  takes  perfect  movies  be- 
cause every  step  in  its  manufacture  is  checked 
with  scientific  accuracy.  Parts  must  fit  with 
watch-like  precision.  Tolerances  of  some 
parts  are  held  to  .00025  of  an  inch.  The  Re- 
vere's  automatic  film-loop  sprocket  contri- 
butes to  steady  movies  by  eliminating  tug- 
ging on  the  film  gate.  The  high-ratio  duplex 
shuttle  film  movement  and  rotary  disc  shut- 
ter pull  the  film  down  in  front  of  the  lens  and 
hold  it  firmly  for  exposure  of  each  frame. 
Speed  of  operation  is  regulated  by  a  positive 
governor  control.  Each  of  the  5  speeds  is  set 
by  stroboscope. 

The  Revere  8mm  Projector  shows  these 
more  carefully  made  movies  at  their  bright- 
est and  best.  Because  precision  is  scientific- 
ally checked,  all  parts  of  the  Revere  Projector 
function  smoothly  and  assure  flickerless  mov- 
ies, maximum  screen  brilliance,  and  quiet 
operation. 

Revere  Cameras  and  Projectors  are  easy  to 
load  and  to  use.  They  have  simplified  home 
movies  still  further  and  have  made  this  fine 
hobby  more  popular  than  ever.  Ask  your 
dealer  to  show  you  precision-built  Revere 
equipment.  Write  for  literature.  Revere  Cam- 
era Company,  Dept.  2  H.M.,  320  East  21st 
Street,  Chicago,  Illinois. 


REVERE  "99"  TURRET  CAMERA 


For  those  who  want  instant 
interchangeability  of  lens 
equipment,  the  Revere  "99" 
Camera  is  the  answer.  Its 
rotating  turret  head  holds  3 
screw-type  lenses.  This  cam- 
era also  has  an  EXTRA  VIEW 
FINDER  for  use  with  tele- 
photo  lenses.  Complete  with 
one  Wollensak  F  2.5  lens, 
$77.50. 


I 


PACE  50 


HOME  MOVIES  FOR  FEBRUARY 


•  TITLE  TROUBLES  • 

By  GEORGE  W.  CUSHMAN 


Renew  Your 
Old  Screen 

with 


*HY-FLECT" 
Class  Beaded  Fabric 

Don't  put  up  with  old,  inferior  screens. 
As  a  special  service  we  will  replace 
your  worn-out,  damaged  screen  fabric 
with  beautiful  new  Radiant  "Hy-Flect" 
glass-beaded  fabric.  Guaranteed  for 
permanent  whiteness.  Ask  your  dealer, 
or  write  us.  No  charge  except  for 
material. 


MANUFACTURING 
CORPORATION 


1 1 40-6  W.  Superior  Sf.  Chicago,  III. 


THE 
HAVi 

MARINES 
i  LANDED! 

».•  V 

#     >  r. 

AN  ACTION-PACKED  MOVIE 
Presented  by  OFFICIAL  FILMS 

Shows  you  how  Marines  march  with  the  Army, 
sail  with  the  Navy,  and  fly  with  the  Air  Corps! 
You  see  action,  action,  and  more  action !  Now 
you'll  know  why  the  Marines  are  celebrated 
from  "The  Halls  of  Montezuma  to  the  shores 
of  Tripoli"  ! 

Lest  Than  the  Cost  of  Rate  Film! 
Send  for  FREE  Catalog 


ORDER  TODAY! 
FOTOSHOP,  INC.,  Dept.  HM-2 
18  E.  42nd  St.,  New  York  City 

Please  send  me  the  following:  "THE  MA- 
RINES HAVE  LANDED." 

8MM 

□  Short,  50  ft.,  $1 .75     □  Feature,  180  ft.,  $5.50 

16MM 

□  Short,  100  ft.,  $2.75     □  Feature,  360  ft.,  $9.75 

Sound,  350  ft.,  $17.50 

NAME.    

ADDRESS   


I  F  you  have  any  questions  pertain- 
ing to  titles  or  title-making,  Mr.  Cush- 
man  will  be  glad  to  answer  them.  Ad- 
dress him  in  care  of  Home  Movies 
or  his  residence,  504  Stanton  Avenue, 
Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as 
type  of  equipment  used,  film,  light 
source,  and  where  possible,  send  along 
a  sample  of  the  title  film.  Enclose  a  self- 
addressed  stamped  envelope  if  you  wish 
an  early  reply. 

O.  Can  colored  base  positive  film, 
such  as  used  for  titles,  be  tinted  or 
toned?— K.  L.  McClcllan,  Oklahoma 
City,  Ok  la. 

A.  Colored  base  films  can  be  toned — 
the  base  is  already  tinted.  Since  the  base 
of  such  films  is  already  colored,  after  e.x- 
posure  and  development  the  light  areas 
are  colored  and  the  dark  areas  remain 
black.  By  toning  the  film  after  develop- 
ment, a  second  color  can  be  added  to  the 
film.  For  example,  if  the  film  is  yellow, 
by  toning  the  film  with  a  blue  toner  a 
pleasing  combination  of  blue  and  yel- 
low will  be  obtained.  Titles  resembling 
Kodachrome  can  easily  be  made  in  this 
way  at  a  fraction  of  the  cost  as  when 
color  film  is  used. 

Q.  I  have  been  shooting  titles  with 
my  typew  riter  titler,  using  a  single  pho- 
toflood  lamp  in  a  desk  lamp  as  a  source 
of  illumination.  Thus  far,  I  have  been 
unable  to  obtain  an  even  tone  in  the 
backgrounds.  Friends  tell  me  I  should 
use  tiL'o  Photofloods.  Would  this  help? 
— A.  E.  Clauson,  Godsden,  Ala. 

A.  Yes.  Two  Photofloods  in  reflectors 
— one  at  either  side  of  your  camera — 
will  give  a  more  even  lighting  on  your 
title  card.  Also,  the  additional  light 
volume  will  enable  you  to  shoot  at  a 
smaller  stop,  which  will  result  in 
sharper  focus  and  greater  detail  and 
contrast  in  the  lettering  of  your  titles. 

Q.  I  am  continually  hearing  that  this 
or  that  amateur  film  lacked  sufficient 
titles.  Just  hoiv  many  titles  are  neces- 
sary to  a  film?  Is  there  any  set  rule  to 
follow?  —  IV alter  Peake,  Boise,  Idaho. 

A.  Aside  from  the  main,  and  end 
titles,  the  number  of  additional  explana- 
tory or  "sub-titles"  must  be  determined 
by  the  individual,  and  this  will  depend 
upon  just  how  much  explanation  is  nec- 
essary for  the  subject  matter  filmed. 

Every  motion  picture  —  amateur  or 
professional — should  begin  with  a  main 


title  which  is  the  "label"  of  the  film. 
Good  practice  dictates  that,  following 
the  main  title,  there  should  be  a  credit 
title  giving  the  names  of  the  photog- 
rapher and,  if  the  picture  be  a  photo- 
play, the  names  of  assistants  and  those 
in  the  cast.  Following  the  final  scene 
should  be  an  "end"  title  of  appropriate 
length. 

In  the  case  of  purely  record  pictures 
such  as  movies  of  travels,  vacations,  or 
of  the  family,  explanatory  titles  should 
be  cut  in  wherever  an  explanation  seems 
necessary.  Just  where  such  titles  should 
go  can  best  be  determined  in  a  screen- 
ing of  the  untitled  picture  before  a  small 
audience  and  noting  at  what  point  ques- 
tions are  asked.  Your  sub-titles,  answer- 
ing the  questions,  should  be  inserted  at 
these  points. 

Q.  Up  to  the  present  time,  all  my 
titles  have  been  shot  on  either  Koda- 
chrome or  Panchromatic  reversal  film. 
I'm  told  that  titles  can  be  made  at  far 
less  cost  by  shooting  them  on  positive 
film.  However,  this  entails  home  de- 
veloping and  I'm  not  interested  in  this 
phase  of  title  making.  Are  there  film 
laboratories  to  whom  I  can  send  my 
positive  film  for  developing? — Fred  G. 
Arche,  Cheyenne,  JVyo. 

A.  Yes  indeed.  Just  refer  to  the  dis- 
play and  classified  advertising  columns 
of  Ho.ME  MovTES  for  the  names  of  such 
laboratories.  Among  them  are:  Holly- 
wood Film  Enterprises,  6060  Sunset 
Blvd.,  Holh-wood,  Calif. ;  George  W. 
Colburn  Laboratory.  1197-A  Merchan- 
dise Mart,  Chicago,  111. ;  Corona  Film 
Labs.,  1028  N.  Y.  Ave.,  Brooklyn, 
N.  Y. ;  and  Fromader-Genera  Co.,  Dav- 
enport, Iowa. 


THE  LAST  WORD 
in  titling  technique  for  home  movies 
is  given  by  George  W.  Cushman  in 
his  book,  "How  to  Title  Home  Mov- 
ies," available  to  readers  of  HOME 
MOVIES  at  $1  a  copy.  If  you  regu- 
larly have  followed  Mr.  Cushman's 
advice  in  this  department,  you  will 
want  his  exposition  of  basic  titling 
technique,  complete  with  illustra- 
tions on  all  phases  of  the  subject. 
Send  a  dollar  bill  today  for  HOME 
MOVIES'  complete  textbook  on  this 
all  important  phase  of  movie  mak- 
ing. It  includes  complete  plans  for 
building  your  own  titler,  too! 


FOTOSHOP,  INC. 

IB  E.  42nd  ST.     •      136  W.  32nd  ST. 
ItfEW  YORK  CITY 


PROJECT  YOUR 
PICTURES 


on  ci 


(Reg.  U.  b.  Pat.  Off.) 


THE  DA-LITE 
CHALLENGER 

In  the  Challenger,  the  famous  Da- 
Lite  Glass-Beaded  fabric  is  mounted 
in  a  metal  case  to  which  a  tripod  is 
permanently  and  pivotally  attached. 
The  Challenger  is  the  only  screen 
that  can  be  adjusted  in  height  by 
merely  releasing  a  spring  latch  and 
raising  the  extension  support.  12 
sizes  from  30"  x  40"  to  70"  x  94" 
inclusive.  From  $12.50*  up. 


GLASS-BEADED 
SCREEN 


DA-LITE  JUNIOR 

Can  be  hung  from  the  wall  or 
t  upon  a  table.  It  has  the  same 
eaded  fabric  as  is  used  in  the 
lost  expensive  Da-Lite  model.  4 
zes.   From  $2.00*  up. 


DA-LITE  REPLACE- 
MENT FABRICS 

If  your  screen  surface  has  be- 
)me  soiled  or  damaged,  ask  your 
ealer  about  Da-Lite  replacement 
ibrics.  For  Da-Lite  screens  there 
•  no  additional  charge  for 
lounting. 

Make  your  screen  new  again 
ith  a  Da-Lite  Glass-Beaded  Re- 
lacement  Fabric.  Available  for 
Q  standard  sizes  of  screen  sur- 


EVERYONE  "sits  up  and  takes  notice"  when  you  start  showing 
your  home  movies  or  color  slides  on  a  Da-Lite  Glass-Beaded 
Screen.  Its  specially  processed  surface  sharpens  details  and 
brings  out,  with  full  brilliance,  the  true  color  and  tone  values  of 
your  films.  The  beads  are  guaranteed  not  to  shatter  oflf.  The 
fabric  stays  pliable  and  white.  You  have  a  choice  of  9  mount- 
ings, including  the  Challenger,  Junior  and  Model  "B"  screens, 
shown  here.  See  Da-Lite  Screens  at  your  dealer's  today.  For 
better  value  and  lasting  satisfaction,  insist  on  Da-Lite's  time- 
proved  advantages!  Write  for  literature.  Dept.  2  H.M.,  Da-Lite 
Screen  Company,  Inc.,  2711  North  Crawford  Ave.,  Chicago,  IlL 


DA-LITE  MODEL  "B" 

In  this  map  type  screen,  the  Da- 
Lite  Glass-Beaded  fabric  is  spring- 
roller,  mounted  in  a  metal  case  to 
protect  it  from  dust.  Ideal  for  game 
or  projection  room.  Thirteen  sizes, 
including  square  sizes  from  22"x30" 
up  to  84"x84".  From  $6.50  up. 


*  Prices  slightly  higher  on  Pacific  Coast. 


PACE  52 


HOME  MOVIES  FOR  FEBRUARY 


Light    Your   Subjects  with 

VICTOR 

Fotoflood  Equipment 

HERE  Is  the  equipment  for  lighting  with 
Photofloods:  the  VICTOR  "520-S"  twin 
stand  model  for  No.  1  lamps.  Both  "Dif- 
fuser-Flectors"  swivel  on  a  full  swiveling 
cross  arm.  The  cadmium  plated  stand 
elevates  to  6V2  feet-  <C7 
The  price   1 .7  J 

See  your  dealer  or  write  for  folder 

James  H.  Smith  &  Sons  Corp. 

220  LAKE  ST.  GRIFFITH,  INDIANA 


•  Wesco's  New  "VICTORY' 


NO 
METAL 


REEL  FILES 

will  safely  preserve  your 
precious  films! 

Here's  the  newest,  smartest  and  most 
convenient  method  of  recording  and 
storing    your    valuable    8mm  film. 


De  Luxe  Library  Se- 
ries of  3  volumes, 
safely  holds  18—200 
ft..  Smm  reels.  .Sturd- 
ily built  in  black  or 
brown  fabricord.  Car- 
rying case  with  swiv- 
el hinge  front  cover. 
Complete,  with 
18  plastic  reels  $16.75 
Without  reels  .$10.00 


De  Luxe  Individual 
Flies  may  be  purchased 
separately.  Holds  6— 
200  ft..  Smm  reels. 
Dustproof.  Makes  cans 
unnecessary.  Hemovable 
index  for  titling  and 
listing. 

Complete,  with 
plastic  reel!  .......$4.75 

Without  reels   $2.50 


Unconditionally  Guaranteed!    Send  for  Circular. 

WESTERN  MOVIE  SUPPLY  CO. 

HOLLYWOOD  SAN  FRANCISCO 


Wid  tL  REEL  FELLOWS 


FRIENDLY  FRATERNITY 


OF  MOVIE  AMATEURS 


Aiding  Defense 

Reel  Fellows  Raymond  Fosholdt, 
Mildred  Caldwell,  and  Clarence  Al- 
drich — all  of  Long  Beach,  California — 
are  busily  engaged  in  the  production  of 
the  first  of  several  Civilian  Defense 
Instructional  films  sponsored  by  civic 
groups  of  that  city. 

Their  progress  in  this  efJort  will  be 
reported  in  this  department  in  subse- 
quent issues  and  this  should  prove  help- 
ful to  other  Reel  Fellows  interested  in 
similar  work  in  their  own  communities. 


n.  F.  Gnld  Pin  Oid  It! 

Here's  rather  double-barrel  proof 
that  the  organization  of  Reel  Fellows 
stands  for  real  fellowship. 

It  spotlights  the  fact  that  the  under- 
lying friendly  feeling  born  of  the  cine- 
ma bug  is  made  potentially  stronger  by 
the  fraternal  feeling  of  coordination. 

In  this  case,  it  eliminated  a  long- 
standing barrier  for  one  member,  and 
aided  him  in  hurdling  what  he  thought 
was  "too  high  a  stone  wall." 

On  the  other  side  of  that  wall,  he 
found  PROFIT. 

To  a  second  member's  amazement, 
this  particular  Reel  Fellows  occasion 
brought  him  ECONOMY. 

And  to  each  of  them  came  a  real  fel- 
lowship of  constructive  pleasure. 

Both  of  these  men  hail  from  Detroit, 
but  let  Wesley  Goodfellow,  the  first 
member,  tell  the  story.  Here  are  the 
quotes  from  his  letter,  just  received: 

"I  thought  you  and  the  rest  of  the 
Reel  Fellows  might  like  to  hear  of  a 
wonderful  break  that  my  membership 
brought  me.  And  when  I  say  'break'  I 
mean  a  piece  of  business  profit,  but  it 
turned  out  to  be  much  more  than  just 
that. 

"My  regular  line  is  printing,  and  I 
had  developed  quite  an  array  of  mer- 
chandising layouts  and  selling  aids 
which  could  be  quickly  adapted  to  al- 
most any  line  of  business  or  products. 

"For  a  long  time,  I  had  been  trying 
to  crash  the  gates  of  a  certain  advertis- 
ing agency  exec,  one  E.  R.  Richstein, 
but  he  had  built  such  a  stone  wall 
against  printing  salesmen  that  I  was 
stymied.  I  was  just  about  ready  to 
give  up. 

"That  w^as  just  before  I  had  joined 
the  Reel  Fellows. 

"Then  I  decided  to  make  one  more 
call   before  erasing  Richstein's  name 


REEX  FELLOWS! 
This  department  chronicles  the  do- 
ings oi  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellows  iniormed  oi  your  activi- 
ties  through  this  column?  Write  the 
editors,  giving  details  oi  your  filming 
activities,  future  filming  plans,  or  in- 
teresting experiences  encountered 
through  your  affiliation  with  this  new 
organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideration 
will  be  given  to  their  publication 
when  space  permits. 


from  my  list  of  prospects.  I  did,  but 
the  reception  was  the  usual  one — phleg- 
matic and  cold.  As  I  was  about  to  be 
curtly  dismissed,  he  suddenly  leaned 
forward  and  saw  the  Reel  Fellows  pin 
I  was  wearing  on  my  lapel. 

"And  then  it  happened ! 

"I  guess  you  know  the  rest  of  the 
story.  He  started  with :  'To  heck  with 
this  printing  gab,  what  kind  of  a  cam- 
era have  you  got,  etc.',  but  before  I  left 
his  office  I  had  w-ritten  one  of  the  larg- 
est orders  I  ever  received. 

"The  amazing  part  of  it  all  was  his 
admission  that  my  accessories  saved  him 
a  lot  of  money  and  his  statement,  'I 
wonder  why  we  never  got  together  long 
ago !'  Oh,  well — that's  that,  and 
THAT  was  only  the  beginning  of 
profit  to  both  of  us. 

"What's  more,  and  just  as  impor- 
tant, 'Rick'  and  I  are  now  fast  friends 
and  Reel  Fellows  'under  the  skin'." 

The  moral  of  Goodfellow's  experi- 
ence can  only  point  in  one  direction. 
Wear  that  pin  of  yours,  the  Reel  Fel- 
lows emblem,  and  get  acquainted  with 
every  other  Reel  Fellow  in  your  com- 
munity. 

A  friendly  feeling  always  pays.  A 
friendly,  fraternal  handshake  means  co- 
ordination with  constructive  profits 
for  all  concerned. 


Ctiarters 

Groups  of  Reel  Fellows  who  wish  to 
organize  amateur  cine  clubs  composed 
exclusively  of  Reel  Fellows  will  obtain 
the  full  support  of  the  Secretary  and  of 
Home  Movies  magazine.  Upon  receipt 
of  application  signed  by  each  of  the 
•  Continued  on  Page  82 


HOME  MOVIES  FOR  FEBRUARY 


PACE  55 


•'f  'f"''  •''X'^-  ^'-^ 


"£«(i  of  the  Trail"  by  Thomas  H.  Peter- 
son, member  of  the  El  Paso  Camera  Club. 
This  interesting  photograph,  made  near 
an  old  abandoned  Texas  ranch  house, 
tells  its  own  story.  Doesn't  the  enlarge- 
ment exhibit  detail  you'd  like  in  your 
own  enlargements.''  Thomas  Peterson 
writes,  ""This  enlargement  was  made 
from  a  2^/4  x  2l/4  negative  with  an  /6.3 
Wollensak  Enlarging  Velostigmat.  In 
fact,  a  Wollensak  is  the  only  enlarging 
lens  I  use.    I  recommend  it  highly." 

Improve  your  photography  with  a 
Wollensak. 


For  Movies,  Candid,  Enlarging,  Action,  St 


WOLLEN/AK  OPTICAL  CO.,  RocHEfTER  n.y 


PACE  54 


HOME  MOVIES  FOR  FEBRUARY 


J^J   ^[^  io  me  ,  .  ,  I 

By  CiNEBUG  Shopper 


•  Castle's  "Moth  and  the  Flame" 

Castle's  February  Releases 

New  8mm  and  16mm  film  releases 
announced  ready  for  distribution  in 
February  by  Castle  Films  are  both  in- 
teresting and  timely.  Filmed  under  fire 
was  "Commandos  In  Action,"  Castle's 
thrilling  account  of  the  most  daring  ex- 
ploits of  Britain's  super-man  suicide 
troops.  Presented  are  actual  pictures  of 
unbelievable  daring  raids  on  Nazi's 
Norwegian  strongholds  —  daringly 
filmed  at  close  range.  Also  ready  is  a 
series  of  Castle  winter  sports  films: 
"Snow  Thrills,"  "Ice  Carnival"  and 
"Ski  Revels."  These  picture  thrilling 
action  in  ice  yachting,  skiing,  dog  sled 
racing,  and  bobsledding. 

No  less  interesting  is  the  series  of 
nine  brand  new  animated  cartoon  sub- 
jects from  the  gifted  pens  of  the  famous 
"Terrytoon"  artists.  Packed  with  com- 
edy situations  which  only  the  imagina- 
tion of  an  animator  can  conceive,  these 
films  afford  capital  entertainment  in  any 
period  both  for  young  and  old.  In  days 
such  as  these,  their  value  is  inestimable. 

The  nine  new  Castle  Terrytoons, 
now  in  the  hands  of  photo  dealers,  are: 
Tom,  Tom  the  Piper's  Son  ;  The  Moth 
and  the  Spider  ;  Canine  Comedy  ;  Wild 
West  Daze  ;  The  Mouse  and  the  Lion  ; 
Streamlined  Robinson  Crusoe ;  Farm- 
yard Whoopee  ;  The  Bee  and  the  But- 
terfly ;  The  Owl  and  the  Pussycat. 
They  are  obtainable  in  five  sizes  and 
lengths,  silent  and  sound,  at  the  usual 
low  Castle  prices. 

Castle  Films  also  are  distributing  a 
series  of  sound  films  covering  machine 
shop  work  which  were  produced  under 
direction  of  the  U.  S.  Office  of  Educa- 
tion, Federal  Security  Agency,  for  the 
express  purpose  of  aiding  vocational 
teachers  in  their  instruction  courses  for 
potential  and  employed  defense  workers. 

Further  information  plus  catalogs 
and  prices  may  be  had  from  Castle 
Films,  New  York  City. 


Ben  Turpin  Comedy 

Those  who  remember  the  laugh-pro- 
voking Keystone  Comedies  of  the  silent 
era  will  welcome  news  that  some  of 
the  best  of  these  films  are  being  made 
available  for  8mm  projectors. 

"Step  Forward"  is  title  of  first  of 
series — a  375-foot  8mm  comedy  featur- 
ing Ben  Turpin,  Phyllis  Haver,  and 
others.  Ben,  as  skipper  of  a  one-man 
street  car,  has  his  ups  and  downs  trying 
to  win,  then  keep  the  affections  of  his 
sweetheart,  Phyllis  Haver.  There  are 
oodles  of  laughable  chase  scenes  as  only 
Mack  Sennett  could  film  them. 

Cope  Studio,  3720  So.  Figueroa  St., 
Los  Angeles,  is  producer  and  distri- 
butor. 

Ampro's  Triple  Claw 

Interesting  feature  of  models  KD 
and  YSA  Ampro  sound  projectors  is 
the  exclusive  triple-claw  movement — 
three  claws  which  engage  three 
sprocket  holes  of  the  film  simultaneous- 
ly. This  feature  insures  smooth  pas- 
sage of  film,  even  where  torn  sprocket 
holes  exist. 

Other  features  of  these  projectors 
include  simplified  threading  and  Sound 
Loop  Syncronizer  that  can  be  set  with- 
out stopping  projector,  insuring  perfect 
synchronization  of  picture  and  sound. 

New  Projection  Lens 

Followmg  Its  announcement  of  the 
faster  3-inch  projection  lens  of  a  few 
months  ago,  the  Bell  &  Howell  Com- 
pany has  introduced  an  improved  3^2- 
inch  f:2.3  lens  for  Filmo  I6mm  pro- 
jectors. 

For  very  long  throws,  wherein  it  is 
physically  impossible  to  place  the  pro- 
jector close  enough  to  the  screen  to 
obtain  the  right  size  picture  with  the 
standard  lens,  the  new  3]4-inch  lens 
is  said  to  be  ideal.  The  manufacturer 
claims  it  transmits  37  per  cent  more 
light  than  its  predecessor  of  the  same 
length,  without  sacrificing  definition 
or  sharpness.  It  is  said  the  3'/2-inch 
lens  will  produce  the  same  size  picture 
at  a  distance  of  64  feet  that  the  stan- 
dard 2-inch  lens  will  at  about  37  fe^t. 

For  further  information,  write  to 
Bell  &  Howell,  1801  Larchmont  Ave- 
nue, Chicago. 

Post  Pictures'  Releases 

Post  Pictures  Corp.  has  acquired  ex- 
clusive world-wide  distribution  rights 


to  Hal  Roach  pictures  which  are  avail- 
able for  the  first  time  on  16mm  sound 
film  and  four  of  which  will  be  released 
during  the  current  season. 

The  pictures,  all  recent  hits,  are 
Fredric  March  and  Virginia  Bruce  in 
"There  Goes  My  Heart,"  fast-moving 
story  of  a  reporter  in  search  of  a  miss- 
ing heiress ;  Roland  Young  and  Con- 
stance Bennett  in  "Topper  Takes  a 
Trip,"  the  much  talked-about  picture 
in  which  hats  lift  themselves  in  the  air, 
cars  drive  themselves  around  and  count- 
less unusual  camera  tricks  unfurl ; 
Oliver  Hardy,  Harry  Langdon,  Billie 
Burke,  Jean  Parker,  and  the  Hall 
Johnson  Choir  in  "Zenobia"  (An  Ele- 
phant Never  Forgets)  ;  and  Brian 
Aherne  and  Victor  McLaglen  in  "Cap- 
tain Fury,"  the  story  of  Australia's 
Robin  Hood  who  fought  for  the  free- 
dom of  his  people. 

"There  Goes  My  Heart"  is  avail- 
able now.  "Topper  Takes  a  Trip" 
will  be  available  February  1,  1942, 
"Zenobia"  on  May  1,  1942,  and  "Cap- 
tain Fury"  on  June  1,  1942.  For  fur- 
ther information,  write  Post  Pictures 
Corp.,  723  Seventh  Ave.,  New  York 
City. 

Teaching  Film 

"Vegetative  Plant  Propagation,"  a 
new  teaching  film  designed  for  use  in 
high  school  and  agricultural  school 
courses  in  biology  and  ornamental  hor- 
ticulture, has  just  been  announced  by 
the  Teaching  Films  Division  of  the 
Eastman  Kodak  Companv,  Rochester, 
N.  Y. 

Illustrating  the  techniques  used  in 
\  arious  types  of  vegetative  plant  propa- 
gation, and  based  throughout  on  scien- 
tific findings,  the  films  bring  out  in  re- 
vealing, full-screen  close-ups  the  various 
steps  in  the  processes  being  studied. 
The  subject  is  treated  in  two  16mm 
reels  (silent),  priced  at  $24  each. 


#  Eastman's  teaching  film 


Supplement 

The  Quarterly  Supplement  No.  10 
to  the  Photo  Lab  Index  is  now  ready 
for  distribution,  according  to  Morgan 
&  Lester,  publishers.  New  York  City. 


Simple  to  operate 


That's  Why  Ampro  Sound 
Projectors  Are  So  Widely 

Used  in  Industrial 
and  Educational  Training 

This  illustration  shows  how  simple 
it  is  to  thread  Ampro  Projeaors.  This 
feature  and  many  other  exclusive  ad- 
vantages also  ex- 
plains why  thou- 
sands of  Ampro  si- 
lent and  sound  pro- 
jectors are  in  use  in 
industry,  education, 
home,  U.S.  Govern- 
ment Departments,  ^ 
U.S.  Armed  Forces 
—  helping  in  the 
great  battle  to  pre- 
pare this  country  for 
virtory. 


MODEL 
"YSA" 


A  Complete  Line  of  Projectors 

The  Ampro  line 
includes:  8mm. 
and  l6mm.  silent 
projectors, 
I6mm.  sound-on- 
film  projectors 
and  silent  projec- 
tors convertible 
to  sound  —  in 
models  adapted  to 
a  variety  of  needs. 
Send  coupon  for 
full  details. 


Film  "threads"  straight  through  projector  at 
only  three  points,  (two  sprockets  and  film  gate). 

2.  Triple  Claw  Movement. 

Affords  Film  Protection —The  triple  claw  en- 
gages three  sprocket  holes  simultaneously. 
Film  with  two  adjacent  torn  holes  can  be 
successfully  used. 

3.  Sound  Loop  Synchronizer. 

Permits  perfect  synchronization  of  picture 
and  sound  by  the  exact  forming  of  sound 
loop.  Can  be  set  without  stopping  the  show. 


The  Ampro  Corporation,  2851  N.  Western  Ave.,  Chicago,  III.  (Dept.  HM142)  ' 

Please  send  me  new  1942  Ampro  Cafalog.  I  am  particularly  J 

interested  in:  J 

I  I  New  Amprosound  1  6mm.  Projectors.  ^ 

Ampro  is  contributing        CI  Ampro  1 6mm.  Silent  and  Convertible  to  Sound  Projectors,  g 

to    the   National   De-  I 

fense  Program  in  the  Name   | 

manufacture  of  Aerial  H 

Cameras.  ^^j.^^   "i 


AMPRC 


PRECISION  CINE  EQUIPME 

2839  N.  Western  Ave.    •    Chicago,  lllii 


One  hundred  years  ago 


IN  1842,  Edward  Anthony  founded 
the  company  that  is  now  Agfa 
Ansco.  We're  proud  of  our  hundred 
years  as  an  American  institution,  but 
we're  prouder  of  the  letters  that  have 
been  coming  in  to  us  from  photog- 
raphers, both  professional  and  ama- 
teur, saying:  "Congratulations!  We 
wish  you  success  in  your  next  hundred 
years!" 

*  *  it 

Even  in  the  early  1840's,  Edward 
Anthony  was  making  daguerreotypes  in 
Washington  .  .  .  using  the  rooms  of 


The  Committee  On  Military-  Affairs 
for  his  sittings! 

That  early  association  with  the  U.  S. 
Government  has  continued  down  our 
hundred  years.  Today,  Agfa  Ansco  is 
working  harder  than  ever  to  supply  the 
U.  S.  Fighting  Forces. 

We  are  proud  of  our  manj-  contribu- 
tions to  photography  during  the  past 
centurj-  and  we  are  confident  of  our 
ability-  to  create  many  more  new  ad- 
vancements in  the  art  during  our  next 
hundred  years.  We  hojje  to  stay — as 
we  have  always  been — young  in  heart. 


Agfa  Ansco 

Binghamton,  New  York 

FILMS  ■  PAPERS 
CAMERAS  •  CHEMICALS 

MADE   IN  U.S.A. 

100  Years  of  American  Photography 


ORDER  FOR  SUBSCRIPTION 

Home  Movies  Magazine 

12  MONTHS  FOR  $2.00  IN  U.  S. 
In  Canada,  $2.00;  Foreign — $3.00 

SPECIAL  OFFER:  3  Years  for  $5.00  in  the  U.  S.  A. 
HOME  MOVIES 

6060  Sunsef  Blvd.  ^ 
Hollywood,  Calif. 

I.  Send  to   

Address     _  _  

City   


Stale 


2.  Send  to 
Address 


□  New  □  Renewal  □  Gift 


City    State   

□  New         □  Renewal       □  Sift 


Enclosed  find  $   Date   19.. 

Sent  in  by   

Address  


City 


State 


NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


MAGAZINE 

Subscription 
Order  Form 


[  MOVIES. ..Published  in  Hollywood 


F  [ 


B  R 
9 


U  \ 
4 


MOVIE  AMATEURS  m\U\U 

EOR  DEEENSE 


M.  HE  war  presents  a  genuine  opportunity 
for  serious  amateur  filmers  and  cine  club 
groups  to  do  a  much  needed  and  important 
service  for  our  country.  Following  war  declar- 
ations, the  surge  of  response  among  movie  ama- 
teurs toward  enlisting  their  hobby  in  the  aid 
of  defense  was  tremendous.  These  patriotic 
filmers  knew  there  was  a  job  they  could  do 
but  did  not  know  how  to  go  about  it,  where 
to  begin. 

Unprepared  as  we  were  for  such  early  entry 
into  the  war,  the  national  council  entrusted 
almost  overnight  with  the  task  of  coordinating 
civilian  defense  were,  and  still  are,  faced  with 
an  extraordinary  task— that  of  educating  and 
training  civilians  and  civilian  defense  guards 
in  the  rudiments  of  home  defense. 

The  instructions  for 
unified  procedure  to  be 
followed  in  blackouts,  pre- 
cautions to  be  followed 
during  air  raids,  and  in- 
structions for  extinguish- 
ing incendiary  bombs,  etc., 
all  have  been  given  wide 
publicity  in  newspapers 
from  coast  to  coast,  and 
additional  instructions  will 
continue  to  be  published 
from  time  to  time.  But  all 
that  has  been  printed,  all 
the  helpful  safety  insuring 
precautions  that  have  been 
devised  by  our  govern- 
ment's defense  counsellors, 
can  be  amplified  —  made 
more  impressive — through 
motion  pictures. 

This  is  no  new  thought 
of  course.  Already  gov- 
ernment   film  producing 


•  The  right  and  wrong 
way  to  combat  incendi- 
ary bombs  is  just  one  of 
the  many  subjects  that 
can  be  treated  instruc- 
tively with  amateur  pro- 
duced civilian  defense 
films. 


agencies  and  professional  studios  working  in 
cooperation  with  Washington  are  fast  at  work 
on  just  such  films.  But  its  going  to  take  some 
time  before  their  pictures  hit  the  screens  of  the 
nation's  theatres,  bringing  vivid  pictorial  in- 
structions necessary  to  citizens  for  their  per- 
sonal safety  during  the  war  emergency. 

Here  is  where  the  carefully  produced  ama- 
teur film  becomes  important.  The  substandard 
•  Continued  on  Page  72 


57 


HOME  MOVIES  FOR  FEBRUARY 


Low  a 


By        STANLEY        E.  ANDREWS 


I 


•  Telephoto  and  wide 
angle  lenses  become  im- 
portant items  of  camera 
equipment  only  when  the 
amateur  knows  the  func- 
tions as  well  as  limita- 
tions of  each. 


.N  our  initial  lesson  for  the  beginning 
amateur  last  month,  we  dwelt  upon  the  func- 
tions of  the  camera  lens  in  making  pictures, 
and  explained  lens  speeds  and  their  importance 
with  relation  to  good  photographic  results.  In 
this  article  we  continue  with  the  subject  and 
explain  the  difference  between  regular,  wide 
angle,  and  telephoto  lenses.  But  first  a  word 
about  "focal  length,"  a  term  which,  once  fully 
understood,  will  enable  the  movie  amateur  to 
better  understand  the  capabilities  of  his  camera 
lens. 

\Vhen  the  lens  is  focused  at  infinity,  the  dis- 
tance from  the  center  of  the  iris  diaphragm  to 
the  film  represents  the  focal  length  of  the  lens. 
The  focal  length  of  standard  lenses  for  cine 
cameras  is  1  inch  for  16  mm.  and  Y2  inch  for 
8  mm.,  and  these  are  the  lenses  with  which  all 


new  cine  cameras  are  equipped  unless  other- 
wise ordered. 

Before  the  advent  of  amateur  cinematogra- 
phy, extensive  research  established  the  regular 
lens  as  the  most  practical  for  general  all- 
around  use  and  so  it  has  remained  to  this  day. 
However,  as  the  amateur  progresses,  he  finds 
use  for  lenses  of  shorter  or  longer  focal  lengths, 
and  for  him  the  "wide  angle"  and  "telephoto" 
lenses  are  available  where  his  camera  conveni- 
ently provides  for  interchange  of  lenses  or  a  re- 
volving lens  turret. 

In  general  terms,  the  wide  angle  lens  takes 
in  more  of  the  scene  from  the  same  camera 
position  than  does  the  one  inch  lens.  For  this 
reason  the  wide  angle  lens  is  particularly  use- 
ful in  filming  indoors  where  rooms  are  too 
small  to  permit  moving  the  camera  back  far 
enough  to  take  in  the  full  area  of  the  scene 
required.  The  nearest  point  to  the  camera  at 
which  an  object  is  in  sharp  focus  is  also  much 
closer  and  this  often  obviates  the  necessity  of 
having  the  wide  angle  lens  in  focusing  mount. 
With  the  average  wide  angle  lens,  all  objects 
from  six  feet  to  infinity  remain  in  sharp  focus. 

Because  the  wide  angle  lens  changes,  to  some 
extent,  the  perspective  of  a  picture,  certain 
interesting  effects  are  made  possible  with  it. 
For  example,  a  boat  passing  before  the  camera 
in  any  direction,  except  straight  across  horizon- 
tally, will  appear  much  longer  than  normal. 
With  the  deep  perspective  possible  through 
wide  angle  lenses,  a  backyard  garden  will 
appear  larger.  In  the  same  way  an  object  or 
person  in  the  background  will  appear  farther 
away  from  a  person  or  object  in  the  fore- 
ground. 

Still  another  characteristic  of  the  wide  angle 
is  its  ability  to  lend  increased  speed  to  an  ob- 
ject moving  within  a  scene — toward  or  away 
from  the  camera — because  the  subject  appears 
to  have  farther  to  travel  in  the  same  length  of 
time  as  would  be  required  were  the  shot  made 
with  a  standard  lens. 

•  Continued  on  Page  7S 


•  THIS  is  the  second  article  in  the  series 
of  12  lessons  in  Makinff  Amateur  Alovies 
prepared  by  Stanley  E.  Andrews,  a 
former  amateur  who  has  come  up  in  the 
ranks  of  cinefilmers  the  hard  way — by 
trial  and  error.  Prepared  especially  for 
the  beginning  movie  amateur,  successive 
articles  will  appear  each  month.  Don't 
miss  a  single  one! 


58 


D 

a 

PI 

1—1 

L 

o 

□ 

□ 

a 

□ 

□ 

□ 

□ 

□ 

r 

□ 

□ 

□ 

□ 

□ 

□ 

□ 

(Z) 


^ome  iricL  devices  for 


TRICK  PHOTOGRAPHY 


W. 


RITING  this,  as  I  am,  on  the 
other  side  of  the  Atlantic,  I  must  realize  that 
readers  of  this  magazine  have  happily,  as  yet, 
felt  little  of  the  ef?ects  of  the  turmoil  at  pres- 
ent raging  in  Europe.  Though,  for  the  mo- 
ment, the  ebb  of  war  has  flown  to  lands  far 
distant  from  the  British  Isles,  it  is  real  enough 
to  react  in  a  hundred  and  one  ways  on  the 
details  of  our  modern  life.  Even  our  hobbies, 
to  which  we  turn  the  more  keen'y  as  a  relaxa- 
tion from  the  hard  day's  work,  have  not 
escaped.  For  us  British  cinebugs,  restrictions 
on  the  scope  of  our  activities  and  a  severe  cur- 
tailment of  film  stock,  needed  for  a  sterner 
purpose,  have  led  to  a  concentration  of  effort ; 
an  exploration  of  new  ways  and  means  of 
cramming  the  maximum  amount  of  enjoyment 
into  the. minimum  footage  of  film. 

At  least  one  well  known  club  has  turned  to 
filming  puppets,  and  has  built  and  equipped  a 
special  studio  for  the  purpose.  Many  amateurs 
have  turned  to  animation,  cartoons  and  other 
forms  of  trick  photogra- 
phy, in  which  many  hours 
work  may  result  in  but  a 
few  feet  of  finished  film. 
Yet  the  fascination  of 
Black  Magic  on  the  screen 
is  as  old  as  the  movie  in- 
dustry itself.  I  know  too, 
from  a  study  of  these 
pages,  that  in  America, 
movie  amateurs  are  con- 
stantly bringing  out  new 
ideas  by  means  of  which 
trick  work  can  be  accom- 
plished with  a  simple  cam- 
era. It  seems,  therefore, 
that  the  interest  in  trick 

59 


photography  is  still  very  much  alive,  and  if  by 
the  recent  practice  of  it,  I  can  bring  forward 
a  few  ideas  which  may  be  new  to  you,  then 
my  efforts  will  not  have  been  wasted. 

The  optical  printer  by  means  of  which  most 
modern  professional  efTects  are  carried  out,  is 
not  generally  to  be  found  in  the  home  cine 
workshop.  But  long  before  the  advent  of  mod- 
ern processes,  dunning,  travelling  mattes  and 
the  like,  the  early  movie  amateurs  achieved 
astonishing  results  by  means  of  the  camera 
alone.  All  the  camera  tricks  are  within  reach 
of  the  cinebug  who  is  prepared  to  take  a  little 
extra  time  and  trouble  over  his  shots.  The 
simple  cameras  in  general  use  were  never  de- 
signed for  trick 
work  and  therefore 
•  Continued  onP  age  68 


•  Pictured  on  this  page 
are  gadgets  produced  by 
British  movie  amateurs 
to  aid  in  trick  cinemato- 
graphy. The  author  de- 
scribes how  to  make 
them  and  how  they  are 
to  be  used. 


conrACT  A  msuLAreo. 

COtlTACT  B  EROUNDCD  TO  CAHSffA  . 


HOME  MOVIES  FOR  FEBRUARY 


•  People  never  tire  of  seeing  themselves, 
their  own  children  or  their  kinfolk  in  action 
on  the  screen! 


ity  and  under  every  conceivable  condition, 
gaining  valuable  experience  and  knowledge 
with  every  film  exposed. 

In  the  meantime,  before  they  had  achieved 
the  ability  to  produce  movies  of  excellence  even 
in  their  own  eyes,  the  amateur  used  his  films 
and  his  projector  with  immodest  abandon. 
Were  they  good,  bad  or  indifferent,  his  films 
were  screened  for  the  benefit  of  ever^'one  whose 
face  appeared  in  them.  Thus  the  movie  amateur 
learned  his  first  big  lesson  in  home  movie  mak- 
ing, to-wit:  People  never  tire  of  seeing  them- 
selves, their  own  children  or  their  kinfolk  in  ac- 
tion on  the  screen !  As  a  substitute,  they  will 
look  at  a  film  wherein  they  are  able  to  imagine 
themselves  in  the  place  of  the  actors.  But  physi- 
cally or  imaginatively,  they  must  be  there. 
This,  then,  becomes  the  No.  1  pi  a  n  k  in  the 
movie  maker's  platform — the  essential  in  his 
formula  for  making  interesting  pictures. 

I  had  my  first  inkling  of  this  vital  truth  in 
the  showing  of  my  first  completed  movie  short 
reel  of  my  young  son's  Christmas  party.  Of  all 
the  aunts  and  uncles,  mothers  and  fathers,  etc., 
who  sat  patiently  through  the  screening  of  the 
picture,  waiting  for  the  appearance  of  their 
own  Jane  or  John,  only  one  father  was  emo- 
tionally honest  enough  to  voice  an  obviously 
universal  sentiment. 

"Isn't  it  a  funny  thing,"  he  wise-cracked, 
"you  can't  seem  to  see  anvthing  but  vour  own 
kid?" 

That  father  expressed  the  thought  in  ever>' 
individual's  mind  when  he  sees  a  movie  in 


INTERESTINi;  TO  OTHERS! 


The  secret  of  successful  movie  making 
that  keeps  cameras  busy  the  year  'round    .    .  . 


B  y 


M 


T  . 


W 


M, 


.UCH  has  been  written  on  "How  to 
Make  Good  Movies"  and  "How  to  Make 
Good  Movies  Better,"  but  little  has  been  said 
for  the  struggling  amateur  whose  first  movies 
fill  them  with  despair.  "How  to  Make  Bad 
Movies  Do  in  a  Pinch"  is  therefore  much  to 
the  point  in  helping  the  beginner  over  the  dis- 
couraging period  of  his  first  cinematic  failures. 

The  cameras  that  produced  winning  movies 
didn't  get  that  way  by  sitting  on  the  shelf. 
Their  owners  worked  them  at  every  opportun- 


which  he  or  someone  dear  to  him  appears.  This 
aspect  of  human  nature  can  be  a  source  of  vital 
inspiration  to  the  beginning  movie  amateur.  It 
guarantees  an  interested  audience  where  there 
are  people.  Particularly  assured  of  high  audi- 
ence appeal  are  the  movies  we  make  in  which 
the  lives  of  others  and  their  children  touch 
•  Continued  on  Page76 


A  title  background  suitable  for 
many  types  of  home  movies  is  the 
excellent  night  shot  on  opposite 
page  by  H.  C.  A.  Von  Schoenfeldt. 
Shoot  at  distance  of  thirty  inches, 
using  a  1  14  diopter  auxiliary  lens. 


60 


t  i 

r 

ere  A  iv 


in 


liat  to  ^iim 

m  mm 


Indians,  cowboys,  caverns  and 
scenery  beckon  your  movie  camera 


•  Indian  rituals,  dude 
ranch  activities,  beauti- 
ful mountain  scenery  and 
the  famous  Carlsbad 
Caverns  afford  year 
round  filming  material 
for  the  movie  amateur. 


M 


.IR_AGES  have  caused  many  a  thirsn^ 
frontiersman  and  trail  driver  to  let  loose  with 
a  blast  of  profanit}"  that  would  turn  the  imme- 
diate air  blue  while  crossing  the  plains  of  New 
Mexico. 

A  mirage,  like  the  magician's  hand,  is  some- 
times quicker  than  the  e\e  —  and  invariably 
quicker  than  the  pursuer.  Many  an  old-timer 
on  New  Mexico's  frontier  will  confirm  that, 
after  a  futile,  tongue-lolling  chase  for  a  shim- 
mering oasis  in  the  distance. 

But  elusive  as  the>"  are.  mirages  cannot  escape 
the  camera.  Many  a  startling  amateur  movie 


has  been  taken  on  New  Mexico's  plains  coun- 
tr\-,  where  mirages  most  often  occur.  And  this 
is  only  one  of  the  many  strange  wonders  that 
the  movie  amateur  may  hope  to  "shoot"  in  the 
land  of  Enchantment. 

The  New  Mexico  State  Tourist  Bureau  is 
urging  visitors  to  bring  along  their  cameras 
during  the  1942  travel  season.  Ever\one  who 
likes  to  take  pictures,  from  the  children  with 
their  box  cameras  to  the  professional  with  his 
filters  and  exfxjsure  meter,  will  get  a  double 
pleasure  out  of  travelling  in  New  Mexico.  And 
for  the  movie  fan  there  is  action  and  color 
galore. 

Besides  a  wealth  of  photographic  material, 
which  we  shall  touch  on  in  a  moment,  there  is 
the  New  Mexico  clarit\-  of  air  and  brilliance 
of  sunshine  that  make  photographic  condirions 
perfect.  The  camera  fan  can  expect  to  use  an 
exTXKure  time  of  30  to  50  percent  less  than 
would  be  required  on  clear  days  in  most  parts 
of  the  countr>'. 

New  Mexico's  good  climate,  which  is  sim- 
ply good  weather,  joins  forces  with  the  camera 
brigade.  There  is  nearly  always  sunshine,  and 
ver>-  seldom  rain.  This  clarit\-  of  weather — 
which  runs  as  high  as  80  percent  total  possible 
sunshine  the  year  around — not  only  aids  the 
camera  enthusiast,  but  provides  those  who 
would  dabble  in  color  photography  ideal  con- 
•  Continued  on  Page  SO 


PACE  62 


HOME  MOVIES  FOR  FEBRUARY 


A: 


S  the  movie  amateur  progresses 
and  acquires  an  exposure  meter  for  deter- 
mining correct  setting  of  his  lens,  he  be- 
comes immediately  conscious  of  a  factor 
known  as  film  emulsion  speed.  A  film's 
emulsion  speed  must  be  known  before 
correct  exposure  can  be  determined 
with  any  meter.  Motion  picture  film  for 
amateur  use  is  available  in  a  number  of 
different  speeds  ranging  from  the  slow- 
speed  positive,  used  by  some  in  making 
titles,  to  the  super  speed  panchromatic 
films.  Regular  Kodachrome,  for  example, 
is  officially  rated  Weston  8  for  daylight 
use,  and  Weston  3  for  making  pictures  indoors 
under  artificial  light  with  recommended  filter. 

How  are  these  ratings  determined  ?  Are  they 
official?  Dependable? 

Film  speed  figures  most  frequently  referred 
to  in  America  are  the  Weston  ratings.  Few- 
realize  the  extensive  research  by  Weston  engi- 
neers which  stand  behind  the  Weston  emulsion 
figures.  Behind  these  ratings  is  a  corps  of  pho- 
tometric engineers  and  the  largest  independent 
sensitometric  laboratory  in  the  countr>'.  Let's 
take  a  trip  through  this  laboratoiy  and  see  in 
action  the  machinery  and  organization  which 
turn  out  these  dependable  film  ratings. 

The  first  thing  that  meets  our  eyes  is  a  fully 
equipped  studio  for  the  exposure  of  motion  pic- 
ture film.  In  the  center  of  the  room  we  see 
a  carefully  calibrated  motion  picture  camera 
whose  exact  shutter  speed  is  known  so  that 
there  will  be  no  errors  from  a  variable  shutter. 
Gray  scales,  color  charts  and  other  exposure 
standards  are  neatly  stored  in  one  corner  other 
than  those  in  actual  use.  The  cute  little  blonde 
seen  in  illustration  above  (a  milliner's  hat  dum- 
my) is  al?ectionately  known,  for  no  apparent 
reason,  as  "Daisy."  The  studio  has  as  lighting 
equipment  standard  photofloods,  daylight  fluo- 
rescent lamps,  3200°  K  lights,  and  other  types 


Courtesy  Weston  Elec.  Inst.  Co. 


HOW  FILM  SPEEDS 
m  DETERMINED 


Exposure  meter  manufacturers  —  not  film 
makers  —  establish  emulsion  ratings  by 
which   meter   readings   are  determined 


w 


of  illumination  which  might  be  used  by  the 
amateur  or  professional  filmer. 

Here  the  tungsten  ratings  for  motion  picture 
films  are  established.  The  test  objects  are  care- 
fully scanned  by  an  exposure  meter  to  find  out 
their  brightness  values.  Then  varied 
exposures  are  given  resulting  from  the 
use  of  a  wide  range  of  film  speeds.  Af- 
ter the  film  has  been  processed  by  its 
manufacturers,  it  is  projected  and  that 
speed  which  has  resulted  in  the  best  re- 
production of  the  test  objects  is  tenta- 
tively considered  the  correct  one.  Then 
several  additional  rolls  are  exposed  at 
the  tentative  speed  until  the  engineer  in 
charge  is  completely  satisfied  that  the 
correct  speed  has  been  assigned. 

For  the  daylight  ratings,  the  test  ob- 
jects are  moved  out  of  doors  to  a  nearby 
park,  and  the  same  procedure  is  fol- 
lowed. Ry  this  means,  accurate,  practi- 
•  Continued  on  Page  78 


•  Above  —  motion  pic- 
ture films  are  rated  by 
exposing  them  to  test 
objects  at  various  speeds 
and  under  various  types 
of  indoor  lighting.  Below 
—  the  laboratory  where 
tested  films  are  pro- 
cessed. Here,  constant 
temperature  apparatus 
keeps  solutions  within  a 
fraction  of  a  degree  at 
20  C. 


63 


of 


•  Above  group  of  pic- 
tures are  frame  enlarge- 
ments from  George  Ran- 
kin's 16mm  Kodachrome 
record  of  a  trip  through 
Yosemite  National  Park. 
Highlighted  by  good  pho- 
tography and  fine  titling, 
it  offers  a  pattern  for 
others  to  follow  in  film- 
ing this  famed  Califor- 
nia natural  park. 


.F  you  were  to  ask  for  a  filming  guide 
to  Yosemite  National  Park,  we'd  recommend 
unequivocally  "The  Story  Yosemite  Tells," 
the  February  Movie  of  The  Month.  Here  is 
an  amateur  film  that  embodies  all  a  good 
\  acation  travel  picture  should  and  which  well 
might  serve  as  a  standard  pattern  to  be  fol- 
lowed by  the  hundreds  of  movie  amateurs  who 
travel  each  year  to  this  famed  California  Na- 
tional Park. 

Yosemite  is  a  mecca  for  cinefilmers  itching 
for  an  abundance  of  scenic  wonders  on  which 
to  train  their  camera  lenses.  Thousands  of 
feet  of  home  movie  film  are  exposed  annually 
on  its  indescribable  beauty  spots.  Yet  few  ama- 
teurs have  recorded  a  trip  through  Yosemite 
cinematicallv  with  the  deftness  and  artistic 


approach  of  George  L.  Rankin,  who  filmed 
"The  Story  Yosemite  Tells,"  and  then  did  an 
even  more  commendable  job  of  titling  and 
editing  the  scenes  into  a  complete  and  enter- 
taining document. 

Running  full  400  feet  in  16  mm.  Koda- 
chrome, the  picture  begins  with  a  neat  main 
title  followed  by  an  informative  foreword  on 
the  history  of  Yosemite.  The  first  scene  intro- 
duces the  Rankin  family  as  they  are  about  to 
depart  from  their  San  Francisco  home  for 
Yosemite.  Uncle  Lou.  who  is  to  drive  the 
family  car  and  whose  carelessness  furnishes  the 
running  gag  in  the  film,  is  searching  for  his 
keys.  For  a  moment  it  appears  the  journey 
may  have  to  be  abandoned  ;  then  little  daughter, 
who  found  the  keys  dropped  earlier  by  Uncle 
Lou,  surrenders  them  ;  but  not  before  claim- 
ing, and  getting,  a  small  cash  reward. 

Uncle  Lou  is  forever  losing  his  keys  through- 
out the  picture,  but  they  always  turn  up  in 
the  hands  of  the  little  girl ;  and  when  we  see 
her,  each  time  holding  out  her  hand  for  a  small 
reward  before  giving  them  up,  we  suspect  the 
little  lady  is  working  something  of  a  racket 
on  her  careless  uncle. 

Enroute  to  Yosemite,  we  are  shown  several 
interesting  scenic  shots  and  it  becomes  imme- 
diately apparent,  from  the  manner  in  which 
Rankin  has  framed  his  opening  shots,  that  a 
photographic  gem  is  about  to  unfold  on  the 
screen  before  us.  The  Rankin  car  enters  the 
portals  of  Camp  Curry,  bringing  the  vaca- 
•  Continued  on  Page  70 


64 


HOME  MOVIES  FOR  FEBRUARY 


•  Frame  enlargements  at  left  are  from  "Dells 
of  Wisconsin  River"  (topi  and  "Embryo 
Scientists"  —  both  8mm  pictures  reviewed 
this  month.  Reproduced  below  is  a  frame 
enlargement  from  the  8mm  Kodachrome  pic- 
ture, "Buckthorn  Lodge." 


I 


.N  each  of  the  three  home  movie  reviews 
published  this  month,  readers  will  find  at  least 
one  significant  idea  for  filming  better  pictures 
themselves. 

In  the  interest  of  raising  the  standard  of 
amateur  films  so  that  filmers  will  achieve  more 
fun  and  satisfaction  from  the  hobby,  this  re- 
viewing service  is  open  to  any  reader  of  Home 
Movies.  A  detailed  critcism  with  concrete  sug- 
gestions for  improvement  is  sent  to  the  fi'mer. 
From  films  thought  to  contain  material  of  gen- 
eral interest,  the  editors  prepare  brief  reviews 
for  the  information  of  all  readers,  and  these 
are  published  each  month. 

To  encourage  readers  to  improve  their  movie 
making  through  this  service,  all  films  reviewed 
are  classified  according  to  interest  value,  pho- 
tography, editing  and  titling.  On  the  basis  of 


REVIEWS  AND  CRITICISM 


judgment  by  the  editors,  films  are  awarded 
an  attractive  animated  leader,  indicating  one, 
two,  or  three  star  rating. 

The  following  reviews  will  be  of  interest 
for  the  facts  on  general  principles  of  movie 
shooting  they  contain : 


of 


amateu^d 


THE 


EDITORS 


"BUCKTHORN  LODGE" 

125  Ft.  8mm  Kodachrome — by  E.  C.  -k     -k  -k 

This  film  made  full  use  of  a  deer  hunting 
party  at  a  hunting  lodge  to  produce  an  inter- 
esting continuity  movie  centered  about  individ- 
uals in  the  group. 

Continuity :  Picture  opens  with  the  arrival 
at  Buckthorn  Lodge  of  the  gaily  dressed  "hero" 
in  an  automobile.  He  gets  out,  stumbles  over 
two  rifles  and  his  overnight  case,  and  gener- 
ally plays  the  boob.  He  is  greeted  by  the  other 
hunters  who  all  proceed  to  fortify  themselves 
against  a  sudden  drop  in  the  temperature. 

It  develops  that  the  hero,  for  some  reason 
not  made  clear,  is  relegated  to  washing  dishes 
instead  of  going  out  with  the  hunting  party. 
"Nimrod,"  the  master  hunter,  pins  on  the  hero 
a  large  badge  as  "K.  P."  While  bungling  the 
job  of  dishwashing,  the  hero  apparently  hears 
a  noise  and  the  camera  picks  up  the  head  of  a 
deer  appearing  from  behind  a  tree.  Hero  grabs 
his  rifle  and  runs  frantically  up  the  hill.  Ex- 


65 


hausted  at  the  exertion  and  unable  to  find  the 
deer,  he  sits  down  to  rest,  only  to  see  the  deer 
head  again  appearing  behind  a  nearby  tree. 

Hero,  trembling  with  excitement,  picks  up 
his  gun  and  shoots,  the  recoil  throwing  him 
flat  on  his  back.  Nimrod  comes  to  the  rescue; 
Hero  explains  what  he  has  seen  but  Nimrod 
won't  believe  it.  The  two  sneak  up  on  the 
tree  but  find  nothing.  A  close-up  then  shows 
a  deer  poking  Hero  in  the  back,  but  it  turns 
out  to  be  a  mounted  head  held  by  another 
hunter.  All  the  rest  of 
the  hunters  then  appear 
from  hiding  places  and 
join  in  the  laugh  at 
Hero's  expense.  Suc- 
ceeding scenes  show  a 
real  deer  being  brought 
in  and  tied  on  a  car, 
while  Hero's  car  is  be- 


Continued  on  Page  75 


.1 


PACE  66 


HOME  MOVIES  FOR  FEBRUARY 


TH[  EKPERIMEna 


Lighting  Fixture 

Here  is  a  versatile  indoor  lighting 
aid  that  supplants,  in  many  instances, 
bulky  tripod  fixtures  and  offering  less 
bulk. 

It  consists  of  two  pieces  of  1"  pine 
material  18"  long  and  2"  wide.  These 
are  joined  together  with  a  hinge  so  that 
the  unit  may  be  folded  for  easy  carry- 
ing or  storage.  Attached  to  each  section 
are  two  baseboard  outlets  (four  in  all) 
providing  for  plugging  in  clamp  on  re- 
flectors, and  these  are  connected  to  a 
generous  length  of  rubber  covered  cord 
fitted  with  connecting  plug. 

At  top  of  unit  is  a  sturdy  hook,  mak- 
ing it  possible  to  hook  the  fixture  to 
wall  molding,  chandeliers,  etc.  Four 
clamp-on  reflectors  are  clamped  to  the 
fixture  as  shown,  and  plugged  in  to  the 
receptacles  provided.  The  reflectors  are 
then  adjusted  at  various  angles  to  suit 
lighting  requirements  of  the  set. 

— F.  C.  Cooling, 
Rockford,  III. 


Splicing  Tip 

In  splicing  Kodachrome,  particular 
care  should  be  given  to  scraping  every 
particle  of  emulsion  from  the  splicing 
area.  Emulsion  left  on  this  area  will 
become  red  when  film  cement  is  ap- 
plied and  will  show  up  noticeably  on 
the  screen  when  projected. 

— Mai  Mathison, 
Bur  bank,  Calif. 

For  Centering  Titles 

A  popular  method  for  centering 
camera  with  title  card  is  that  involving 
opening  up  the  camera  and  reflecting  a 
beam  of  light  through  the  film  gate, 
through  the  lens,  and  on  to  the  title. 
The  projected  light  beam  indicates  the 
area  taken  in  by  the  lens  and  the  title 
card  is  lined  up  accordingly. 

An  excellent  light  source  for  this  sys- 
tem of  title  alignment  is  one  of  the  new 
pocket  flashlights  with  curved  Lucite 
tip — such  as  recently  sold  in  combina- 
tion with  Listerine,  but  also  available 
wherever  flashlights  are  sold. 

The  tip  should  be  altered  as  shown 
in  sketch  —  filed  or  sawed  off  at  an 
angle  as  indicated  by  dotted  line.  This 
facilitates  placing  the  tip  flush  against 
the  film  ga.te.  The  light  from  the  flash- 
light bulb  travels  along  the  curved  Lu- 
cite stem,  projecting  light  beam  through 
the  camera  lens  and  on  to  the  title  card. 

After  camera  and  title  card  are  lined 


LUC/ re  TIP 


(FLASHLIGHT  ,m,,,J 

III'"'""""""   L.I  ■  ■ 


CUT  OFF  AND  R£-POLISH 


up,  film  is  threaded  in  the  camera,  the 
camera  closed,  and  filming  may  begin 
with  full  assurance  that  the  title  cards 
thus  lined  up  are  accurately  centered. 

— Frank  O.  Doak. 
Sacramento,  Calif. 

Editing  Guide 

Just  in  case  you  may  not  get  around 
to  editing  and  splicing  in  your  latest 
roll  of  movie  film  with  your  regular 
reels,  make  it  a  point  to  mark  your  film 
with  the  date  taken  and  other  impor- 
tant data  as  soon  as  it  comes  from  the 
processors.  This  may  be  done  by  scratch- 
ing the  date  and  other  information  on 
the  edge  of  the  emulsion  side  of  the  first 
few  frames — usually  the  perforated  area 
which  will  be  discarded  when  editing. 
This  idea  is  particularly  helpul  in  keep- 


ing track  of  short  rolls  of  film  taken  of 
children  at  regular  intervals. 

—A.  V.  McGratv, 
Butte,  Mont. 


CUT  SLIT  IN 
COVER  HERE 


Film  Fog  Fixed 

Film  fog,  a  condition  indicated  by 
occasional  (and  sometimes  frequent) 
flashes  of  light  on  picture  margin  on 
the  screen,  is  most  frequently  caused 
vv'hile  threading  film  in  the  camera.  If 
the  roll  of  film  is  handled  carelessly  in 
bright  light  during  threading  oper- 
ations, light  reaches  down  befsveen  the 
film  and  reel,  causing  fog.  The  fault  is 
most  frequent  with  8mm  film  because 
of  the  necessity  of  reversing  the  roil 
after  exposing  the  first  25  feet. 

The  trouble  can  be  eliminated  en- 
tirely by  making  a  simple  "fog  preven- 
ter" from  the  cover  of  one  of  the  metal 
boxes  in  which  the  film  is  packed  by 
the  manufacturer.  With  a  pair  of  tin 
snips  (metal-cutting  shears)  cut  a  slot 
in  the  side  of  the  box  cover  as  shown 
in  sketch.  Bend  the  edge  out  a  little 
and  rub  down  any  rough  spots  with  a 
file  and  finish  with  fine  emery  paper. 

When  removing  roll  of  film  from 
carton  preparatory  to  threading  camera, 
slip  this  slotted  box  top  over  the  roll, 
drawing  loose  end  of  leader  through  the 
slot.  Thus  spool  of  film  will  be  fully 
protected  from  light  during  threading 
operation.  The  protecting  gadget  is 
removed  just  before  closing  the  camera 
for  use. 

— W.  E.  Cummins, 
Bell,  Calif. 

Expusure  Guide  Holder 

Here's  an  idea  for  those  cineamateurs 
owning  other  than  Eastman  Cine  Ko- 
daks who  would  like  to  use  the  re- 
cently improved  Cine  Kodak  exposure 
guides  that  are  packaged  with  each  roll 
of  Eastman  film. 


IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  titling, 
editing  or  processing  home  movies, 
pass  it  on  to  your  fellow  cinebugs 
through  these  columns.  If  your  idea  is 
published  you  will  receive  two  reels  for 
your  efforts.  Extraordinary  ideas  will  net 
you  a  roll  of  film. 

Ideas  not  published  will  be  held  for 
future  publication  unless  they  duplicate 
ideas  previously  received.  Endeavor  also 
to  send  along  photos  or  rough  sketches 
illustrating  your  suggestions.  There  is  no 
limit  to  number  of  suggestions  you  may 
submit. 

Important:  When  submitting  ideas,  bs 
sure  to  mention  whether  equipment  you 
use  is  8  mm.  or  16  mm.,  enabling  us  to 
promptly  forward  awards  adaptable  to 
your  use. 


HOME  MOVIES  FOR  FEBRUARY 


PACE  67 


CINE  WORKSHOP 


Purchase  one  of  the  universal  expos- 
ure guides,  such  as  now  come  attached 
to  all  Cine  Kodaks,  from  the  Eastman 
Kodak  Co.  Mount  same  on  a  piece  of 
metal  or  fiber  cut  in  the  shape  of  a  large 
tag,  as  shown,  and  attach  a  small  wrist 
or  neck  cord.  Thus  the  guide  will  al- 
ways be  handy  for  use  much  the  same 
as  an  electric  exposure  meter.  The 
supplemental  guides  received  with  each 
roll  of  film  may  be  inserted  readily  in 
the  universal  guide  holder,  affording 
the  same  accurate  exposure  data  as 
when  used  on  Cine  Kodaks. 

— Frisco  Roberts, 

Corpus  Chrisli.  Texas. 


STRING 


SOLUTION 


Title  Tinting 

Here's  a  simple  method  for  tinting 
black  and  white  titles  to  be  spliced  with 
Kodachrome  movies.  Instead  of  tinting 
the  entire  roll  of  titles  at  one  time,  it  is 
possible  to  tint  each  title  individually 
without  need  of  much  equipment. 

The  very  bottle  in  which  you  store 
your  tinting  formula  may  be  used,  mak- 
ing it  unnecessary  to  get  out  trays, 
racks,  etc.  Simply  snip  the  title  off  the 
roll  of  film  and  tie  a  piece  of  thread  or 
string  through  the  last  sprocket  hole  in 
one  end.  Insert  film  in  bottle  of  tinting 
solution,  holding  on  to  the  string.  Cap 
the  bottle  with  string  extending  out- 
side. (This  provides  an  easy  means  for 
removing  the  film  after  tinting  is  com- 
pleted.) Agitate  bottle  gently  until 
film  has  been  subjected  to  the  tinting 
bath  required  length  of  time.  Remove 
film,  and  wash  in  ordinary  washbasin 
of  clear  water.  Strips  may  be  hung  up 
to  dry  by  suspending  from  string  at- 
tached to  them. 

— Carl  J.  Enfflund, 
Brooklyn,  N.  Y. 

Title  Backgrounds 

When  I  make  Kodachrome  movies 
with  my  8  mm.  camera,  I  always  take 
along  my  35  mm.  camera  loaded  with 


Kodachrome.  Then  when  I  shoot  a 
scene  that  I  think  will  make  a  good  title 
background  for  the  picture,  I  make  a 
shot  of  it  with  my  35  mm.  still  camera. 
I  have  Eastman  Kodak  Company  make 
one  of  their  Minicolor  enlargements  of 
this  shot  which  just  fits  my  typewriter 
titler.  Title  text  is  lettered  on  clear 
celluloid  and  placed  in  front  of  the 
Kodachrome  enlargement. 

The  Minicolor  enlargements  are  a 
recent  innovation  of  Eastman's  and  pro- 
vide for  a  full  color  reproduction  2^4" 
x  3J4"  from  any  Kodachrome  transpar- 
ency, cost  but  75c  each. 

— Herman  Roth, 
Portsmouth.  Fa. 

Fading  Device 

One  of  the  easiest  methods  for  the 
owner  of  a  new  cine  camera  to  make 
fade-ins  and  fade-outs  is  by  means  of 
the  iris  of  the  camera  lens.  By  closing 
the  lens  iris  beyond  the  established  ex- 
posure point,  the  light  is  gradually  di- 
minished, creating  a  fade-out.  Revers- 
ing this  procedure  —  opening  the  lens 
from  the  smallest  stop  (usually  f/16) 
to  the  established  stop  for  making  the 
picture,  causes  the  scene  gradually  to 
fade  in. 

Such  manipulation  of  the  camera  lens, 
of  course,  can  be  done  only  with  cam- 


fjnoe  Out  Attachment 


Fig.  I 


Fig.Z 


era  mounted  on  a  tripod  which  leaves 
one  hand  free  to  operate  the  lens  iris. 

To  make  this  operation  even  easier 
and  more  accurate,  a  small  lever,  illus- 
trated here,  may  be  fashioned  to  slip 
over  the  iris  ring  of  the  lens,  providing 
a  "handle"  to  move  the  lens  ring.  This 
may  be  made  of  a  narrow  strip  of  metal 
bent  to  fit  around  the  iris  ring.  Drilling 
two  holes  and  adding  a  small  bolt  en- 
ables fitting  the  fading  device  securely 
to  lens,  and  facilitate  its  easy  removal 
when  not  in  use.  With  some  cameras, 
lever  of  this  device  can  be  made  to  ex- 
tend over  front  element  of  viewfinder, 
thus  providing  a  means  for  gauging, 
visually,  movement  of  lever  required 
to  make  the  fade.      — J.  H.  Ha'wkes. 

Seattle,  Wash. 


9 


ud^etSy  ti'icLd  and 
\LortcutA  contributed 


a 


THE  DEFENSE  PROGRAM 
promises  to  put  an  increasingly 
greater  premium  on  the  ingenuity  of 
movie  amateurs.  To  help  cinebugs 
in  their  effort  to  make  some  of  their 
own  gadgets  and  accessories  during 
the  coming  pressure  of  defense 
needs,  the  best  of  the  HOME  MOV- 
IES gadget  workshop  ideas  have  been 
collected  into  one  compact  volume, 
complete  with  illustrations  and  sim- 
ple explanations  of  how  to  make  the 
various  items. 

Mail  a  dollar  bill  to  HOME  MOV- 
IES today  and  a  copy  of  this  helpful 
gadget  book  will  be  in  your  hands 
quickly.  It's  an  insurance  invest- 
ment against  equipment  shortages 
yet  to  come! 


Animation  Aid 

Several  months  ago  there  appeared  in 
Home  Movies  an  article  describing  a 
method  for  making  animated  movies 
with  jointed  figures  cut  from  bristol 
board.  I  noted  particularly  the  sugges- 
tion to  use  short  brass  paper  clips  to 
join  the  arms,  legs,  etc..  to  body  of  the 
figure. 

Such  clips  do  not  make  for  the 
smooth  action  required  in  animation. 
Here  is  a  better  idea:  use  dress  snaps — 
pictured  below.  Simply  punch  round 
holes  in  the  members  to  be  joined — such 
as  arms,  legs,  head,  etc.,  insert  male  clip 
through  hole,  then  snap  on  top  section 
of  clip.  Joints  of  animated  figures  so 
joined  will  operate  smoothly. 

— Alice  Ravinsky, 
Los  Angeles,  Calif. 


Dfi£55  5fl/AP 


PACE  68 


HOME  MOVIES  FOR  FEBRUARY 


HOW  TO  MRKE 
HOME  MOVIE 

GADGETS 


HOME  MOVIES  MAGAZINE  SERIES 


Do  you  get  a  lot  of  pleas- 
ure from  building  your  own 
home  movie  gadgets?  Then 
here  is  the  very  book  you 
want.  Chock  full  of  ideas 
for  gadgets  for  8mm  and 
I6mm  cameras  and  projec- 
tors —  things  easy  for  any 
amateur  to  make. 

HOME  MDVIE 

GADGETS 

and  how  tn  make  them 

$100     PER  COPY 
J.  postpaid 

Nearly  100  pages  profuse- 
ly illustrated  with  photos 
and  sketches  telling  how  to 
make  gadgets  and  accessor- 
ies for  cameras;  for  making 
wipe-offs  and  fades;  title 
making;  editing  and  splic- 
ing; and  a  host  of  others. 

No  theories  —  every  gad- 
get tested  and  proven  by  an 
advanced  amateur.  The 
plans  and  specifications 
alone  of  just  one  of  the  gad- 
gets is  easily  worth  the  price 
of  the  book.  Limited  print- 
ing on  first  edition. 

Order  Now! 

Ver  Halen  Publications 

6060  Sunset  Blvd. 
HOLLYWOOD  CALIFORNIA 


^ricL   ^l^euiced  ^or  jPlioto<^ raping 


•  Continued  from  Page  59 

some  necessary  but  not  elaborate  equip- 
ment will  have  to  be  made  to  overcome 
the  difficulties  associated  with  such 
cameras. 

Reverse  motion,  obtained  by  shooting 
with  the  camera  upside  down  and  in- 
verting the  resultant  length  of  film 
when  splicing  it  into  the  projection  reel, 
is  the  simplest  of  all  camera  tricks. 
Animation  is  another,  bringing  to  life 
drawings  and  inanimate  objects  by 
single  frame  exposure,  moving  the  ob- 
ject or  part  of  the  drawing  each  time. 
But  ninety  per  cent  of  camera  trick 
work  depends  upon  multiple  exposure, 
both  with  and  without  fades.  By  this 
means,  ghosts  will  appear  and  disap- 
pear ;  inanimate  objects  may  be  brought 
to  life  by  single  frame  exposure  and 
combined  to  play  their  part  with  real 
actors ;  the  star  meets  his  double. 

There  is  no  end  to  the  effects  which 
may  be  obtained  if  sufficient  ingenuity 
and  imagination  is  applied.  But  unfor- 
tunately, the  simple  camera  rarely  pro- 
vides for  back  winding  the  film  nor 
does  it  have  an  accurate  frame  counter 
without  which,  the  accurate  timing  of 
multiple  exposures  is  impossible.  Some 
means  of  overcoming  these  difficulties 
must  therefore  be  found.  When  masks 
are  to  be  used,  which  are  necessary  for 
many  effects  associated  with  double  ex- 
posure, the  need  for  the  ability  to  ex- 
amine the  image  thrown  on  the  film  in 
the  gate  arises,  or  something  equival- 
ent. This  is  achieved  by  the  use  of  a 
piece  of  apparatus  combining  this  func- 
tion with  several  others,  which  I  shall 
describe  in  the  next  article  in  this  se- 
ries. Meanwhile,  let  us  examine  the 
other  two  points. 

Modern  substandard  cameras  may  be 
divided  into  two  broad  classes:  those 
using  the  original  type  of  daylight  load- 
ing spools,  and  those  having  the  more 
recent  and  now  very  popular  removable 
magazines  which  may  be  withdrawn 
from  the  camera  and  replaced  at  any 
time  during  the  exposure  of  a  reel.  For 
the  former  type  of  camera,  various 
forms  of  backwinds  are  available  for 
all  the  popular  models  by  firms  who 
have  specialized  in  this  type  of  auxiliary 
equipment.  If  the  reader  does  not  pos- 
sess such  a  backwind,  then  the  film  must 
be  rewound  more  laboriously  by  hand 
in  the  darkroom  or  inside  a  loading 
box.  This  is  most  conveniently  done 
by  reversing  the  spools  and  rewinding 
the  film  by  running  it  through  the 
camera ;  but  more  of  that  anon. 

The  task  of  the  man  with  the  maga- 


zine camera  is  easier.  It  does  not  re- 
quire much  ingenuity  to  adapt  a  maga- 
zine for  a  backwind  by  fitting  a  spindle 
to  carry  the  feed  spool  and  adding 
a  detachable  handle,  by  means  of 
which  the  film  may  be  rewound  from 
outside  the  magazine.  In  some  cases, 
additional  gadgets  may  have  to  be  in- 
corporated to  hold  the  claws  out  of 
engagement  and  ensure  that  the  film 
will  backwind  evenly.  Alternatively, 
a  jig  may  be  made,  having  driving  spin- 
dles suitably  connected,  to  drive  both 
claws  and  feed  spool  in  the  reverse 
direction  ;  the  feed  becoming,  of  course, 
the  take-up.  As  the  film  will  pass 
through  the  gate  opening  in  the  maga- 
zine, the  operation  will  have  to  be  car- 
ried out  in  the  dark,  whatever  method 
is  used.  After  adaptation  for  rewind- 
ing, the  magazine  will  not  be  acceptable 
to  the  manufacturer  for  processing.  It 
should  be  retained  by  the  cameraman 
for  trick  work  only,  the  film  being 
wound  into  a  standard  magazine  or 
onto  an  ordinary  spool  for  dispatch  to 
the  processing  station. 

The  problem  of  accurately  exposing 
a  predetermined  length  of  film  is  not 
so  easy.  On  some  cameras  which  have 
a  "One  turn,  one  frame"  cranking  fea- 
ture, a  frame  counter  may  be  added. 
Another  method,  not  requiring  any 
alteration  to  the  camera,  is  that  of 
punching  the  film  in  one  of  two  dif?er- 
ent  ways. 

In  the  first  case,  a  film  punch  is 
made  from  sheet  brass  on  the  lines 
shown  in  Fig.  1,  to  punch  a  slot  be- 
tween two  successive  sprocket  holes  as 
shown  in  Fig.  2.  These  slots  will  pass 
over  the  feed  sprocket,  but  the  film  will 
stop  when  slots  reach  the  claws.  This 
point  is  readily  detected  by  the  sudden 
change  in  the  running  noise  of  the 
camera,  when  it  may  be  stopped  by  re- 
leasing the  start  button.  The  camera 
will  probably  stop  in  any  case,  as  the 
take-up  sprocket  will  continue  to  draw 
up  the  film  until  the  bottom  loop  has 
gone.  As  the  claws  fail  to  engage,  the 
film  will  pull  tight  and  probably  cause 
the  camera  motor  to  stop.  This  will 
not  do  any  harm,  but  it  is  better  to  stop 
the  camera  with  the  start  button  when 
possible. 

In  using  this  method,  the  film  is  first 
punched  at  the  commencement  of  the 
shot  which  is  to  be  double  exposed,  and 
the  slots  located  just  beyond  the  take- 
up  sprocket.  On  completion  of  the 
shot,  the  camera  is  opened  in  the  dark, 
of  course,  if  it  is  spool  loading  and  the 
film  again  punched.  The  film  may  then 
be  wound  back,  either  on  the  jig,  if  it 


HOME  MOVIES  FOR  FEBRUARY 


PACE  69 


is  a  magazine  camera,  or  by  reversing 
the  spools  in  the  older  type.  In  either 
case,  the  film  will  automatically  stop 
when  the  first  slots  are  reached.  The 
film  is  then  replaced,  again  with  the 
slots  just  past  the  take-up  sprocket,  that 
is  to  say,  in  exactly  the  same  position 
as  it  was  originally.  The  second  ex- 
posure is  then  made,  the  film  stopping 
automatically  at  the  second  set  of  slots 
at  the  end  of  the  original  exposure. 
Thus  it  has  been  possible  to  double  ex- 
pose a  definite  length  of  film  to  an  ac- 
curacy of  a  frame  or  two.  The  pro- 
cess may  be  repeated  for  a  third  expo- 
sure, or,  by  easing  the  film  so  that  the 
slots  come  past  the  take-up  and  the 
camera  is  ready  again  for  another  trick 
shot  or  straight  forward  work. 

If  this  method  is  considered  to  be 
rather  drastic,  another  form  of  indica- 
tion may  be  obtained  by  punching  a 
hole  out  of  the  side  of  the  film  as 
shown  in  Fig.  3.  An  electric  contact, 
on  the  lines  pictured  in  Fig.  4,  is  fitted 
in  the  vicinity  of  the  film  gate  inside 
the  camera,  the  continuity  of  the  circuit 
being  normally  interrupted  by  the 
thickness  of  the  celluloid  film.  As  the 
slot  passes  through  the  contact,  the  cir- 
cuit is  momentarily  closed.  By  the  use 
of  a  small  dry  battery,  the  resultant 
current  may  be  used  to  flash  a  small 
2-volt  lamp  and  so  warn  the  cameraman 
to  stop  the  camera. 

Alternatively,  if  the  operator  is  suffi- 
ciently ambitious,  by  the  use  of  a  relay 
and  more  powerful  battery,  a  plunger 
and  solenoid  may  be  arranged  to  oper- 
ate the  start  button  direct  and  so  stop 
the  camera  automatically.  In  the  re- 
winding operations  in  the  dark,  the 
hole  punched  in  the  side  of  the  film 
will  indicate  the  commencement  of  the 
shot  and  enable  the  operator  to  replace 
the  film  at  its  original  point  for  the 
subsequent  re-exposure,  as  before. 

Either  of  these  methods  will  be  just 
as  effective  as  results  obtained  with  a 
frame  counter,  provided  a  little  thought 
is  given  to  the  order  in  which  the  shots 
are  taken.  Most  of  the  double  expo- 
sure trick  shots  I  shall  describe  in  sub- 
sequent articles,  combine  living  actors 
with  inanimate  backgrounds  and  mod- 
el sets.  If  the  real  life  shots  are  taken 
first,  the  action  itself  will  determine 
the  length  of  the  shot.  It  is  therefore 
only  the  second  exposure  which  has  a 
predetermined  length.  When  action 
takes  place  in  both  exposures,  then  ac- 
curate timing  is  necessary.  This  calls 
for  careful  rehearsal  of  both  shots, 
timed  against,  say,  counted  seconds. 
But  even  in  this  case,  it  is  largely  a 
matter  of  making  the  action  of  the 
second  exposure  fit  the  now  predeter- 
mined length  of  the  first  shot. 

Owing  to  the  labour  involved  and 
the  need   for  auxiliary  apparatus,  it 


SPEED  gets  ANIMATION 

THE  speed  of  a  Graflex  gives  you  easy  command  of  all  sorts  of  ac- 
tion— the  finish  of  a  race,  a  youngster's  fleeting  expression,  or  the 
explosion  of  a  snowball.  And  in  those  thin-sliced  seconds  animation 
is  captured  and  held. 

Of  course,  Graflex  offers  more  than  speed  (focal  plane  shutter 
speeds  up  to  1/1000).  Direct,  positive  focusing  on  the  hooded  ground 
glass  assures  correct  focus,  aids  composition.  The  standard  Kodak 
Anastigmat  lenses  can  be  replaced  with  special  purpose  accessory 
telephotos.  Ask  your  Kodak  dealer  to  show  you  the  new  Graflexes. 
They  rate  your  inspection. 

Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corp. 

EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


WITH  THIS  AND  EVERY 

Um  SCREEN 

YOU'LL  ENJOY  TRUE 

''Theatre" 
OUALITY  PROJECTION 


Cinematographers  who  want  the  finest 
inevitably  choose  one  of  the  many  RAVEN 
SCREENS.  For  every  screen  requirement — 
no  matter  how  varied — there's  a  RAVEN 
SCREEN  representing  the  best  in  screen 
values.  Go  to  your  dealer  today.  Select 
the  screen  best  suited  for  your  needs.  Fine 
stores  across  the  nation  feature  RAVEN. 

RAVEN  REPLACEMENT  SERVICE 

The  same  high  quality  in  workmanship 
and  materials  that  distinguishes  all  RAVEN 
SCREENS  will  be  found  in  every  replace- 
ment adjustment. 


RAVEN  SCREEN 

314-16  EAST  35th  STREET 


STANDARD  TRIPOD  MODEL 

(Dotted  lines  show  screen's  lowest  point) 


CORPORATION 

NEW  YORK  CITY 


PACE  70 


HOME  MOVIES  FOR  FEBRUARY 


Quality  Bulk  Movie  Film 

8mm  •  9'/2mm  •   16mm  •  35mm 

SUPER  PANCHRO  REVERSAL— Scored 
Speed  24-18 — Anti-Halo  Backing. 

100  ft.    33  ft. 

Double  8   $3.75  tl.35 

Single  8    2.10  .8S 

9V4  mm   3.65 

SUPER  CINEPAN  PLUS  REVERSAL— Not  Scored 

Speed  64-40 — Xon-Halation  Base 

100  ft.    33  ft. 

Double  8   $4.00  $1.50 

Single  8    2.25  .95 

16  mm   3.85 

SUPER  CINEPAN  REVERSAL— Not  Scored 

Speed  24-16 — Non-Halation  Base 

100  ft.    33  ft. 

Double  8   $3.60  $1.30 

Single  8    2.00  .80 

16  mm   3.50 

CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-2 — Non-Halation  Base — Not  Scored 

100  ft.    33  ft. 

Double  8   $1.85     $  .80 

Single  8   1.20  .55 

16  mm  1.60 

CINE-KODAK-POSITIVE  TITLE  FILM-Xot scored 
100  ft.    33  ft. 

Double  8   $1.45     $  .65 

Single  8    1.00  .45 

16  mm   1.10 

Clear,  Piirplehaze.YeUow,  Red.  Amber.  Special  Blue. 

Also  DuPont  Lavender,  Light  Amber. 
Complete  New  Reversal  and  Title  Instructions 
Free  with  Film  Orders.  Separately,  50  cents  each. 
Cash,  check  or  money  order  for  aulck  service.  De- 
posit $1.00  returned  with  C.  O.  D.  or<lers.  Special 
Delivery,  15c:  air  mail  $1.00  extra.  Orerpayments 
reftinded  or  credited.  No  stamps,  please. 

CAMERA  SPOOLS  WITH  CANS— Each 
Keystone  Dble.  8  .$  .35     Keystone  Sgle.  8....$  .35 

Eastman  Dble.  8  40     16  mm.,  50  ft  55 

Unlves  Sgle.  8  15     16  mm.,  100  ft  65 

EXTRA  CANS.   Double  8  and  Straight  8  size  .05 

100  ft.  and  50  ft.  16  mm.  size  -  10 

Non-Humidor,  400  ft.  15c  each;  10  for. ..  1.25 
MISCELLANEOUS 

BAIA  Precision  All-Metal  8  rmn.  Slitter  $2.75 

FOTOFADE  DYE  for  making  Chemical  Fades  1.00 

FOTOFADE  ^\^PE-OFI•■  TAPE,  per  roll  60 

CINirriNTS.  6  Colors  and  instructions   3.00 

DuPONT  VISCOSE  SPONGES,  each  _  .35 

HOME  MOVIES,  Back  Issues,  1936-37-38  15 

Not  all  months  in  any  year.  1940-41.  each  .30 
TITLE  DEVELOPER,  tubes,  each  make.  16  oz.  .15 
NOTICE — All  previous  prices  are  obsolete  due  to 
new  tas  effective  Oct.  1.  New  lists  again  in  prep- 
aration and  all  who  have  written  will  receive  copy 
as  soon  as  possible. 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  ST.  JOSEPH  ST.      INDIANAPOLIS.  IND. 


AT  YOUR  DEALER  '^tt^  ONLY  45c  BOTTLE 
For  Coloring  Movie  Scenes  and  Titles 

Send  for  FREE  BuMefm  No,  20 
MANSFIELD  PHOTO  RESEARCH  LABORATORIES 
Dept.  HM-2     701  South  La  Salle  St.     Chicago.  III. 


TAKE  THIS  PROVEN  SHORTCUT 

TO  SUCCESSFUL  PHOTOGRAPHY 


Enroll  now  at  country's  largest,  best  equipped 
school.  Profit  by  our  32  years  of  experience  in 
training  men  and  women  for  photographic  suc- 
cess.  Individual  coaching  by  eicperts,  for  Com- 
mercial, News.  Portrait,  Motion  Picture.  Color  Pho- 
tography.   Resident   or   home   study.    Free  booklet. 
N.   Y.    INSTITUTE   OF   PHOTOGRAPHY.   Dept.  114, 
10  West  33rd  Street,  New  York.  N.  Y. 


When  You  Buy  BAIA 
You  Buy  the  Best 
Precision  Made; 
Guaranteed  Perfect 


$2.50 


From  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
166  Victor,  Highland  Park 

166  Victor 
Highland  Park.  Michigan 


16mm  "OUTDOOR" 
$^jD    or  "AMBERTINT" 

I—  Per  lOO-ft.  Roll 

Machine-processed,  spooled  and  mailed. 
California  buyers  include  sales  tax. 

HOLLYWOODLAND  STUDIOS 

SOUTHCATE,  CALIF. 


may  be  assumed  that  trick  work  will 
be  carried  out  as  far  as  possible  in  the 
vicinity  of  the  cameraman's  home  and 
that  access  to  a  darkroom  will  there- 
fore be  possible  for  rewinding,  when  a 
simple  camera  is  used.  Mention  has, 
however,  been  made  of  a  loading  box 
for  carrying  out  this  operation  on  loca- 
tion. A  portable  form  of  such  a  box 
is  shown  in  Fig.  5. 

It  is  nothing  more  than  a  shallow 
box,  the  lid  of  which  is  held  erect  by 
four  rule-joint  stays,  drawing  taut  the 
cloth  sides.  Two  sleeves  are  sewn  into 
one  of  the  sides.  Into  these,  the  opera- 
tor thrusts  his  hands,  light  being  ex- 
cluded by  sewing  elastic  into  the  ends 
of  the  sleeves  so  that  they  grip  tight 
round  the  wrists.  An  inner  lid  is  fitted 
to  the  top  of  the  box  through  which  a 


camera  or  magazine  may  be  dropped, 
to  be  opened  inside  the  box  in  complete 
darkness.  Needless  to  say,  the  box 
should  not  be  used  outdoors  in  full 
sunlight,  but  in  the  shade  of  a  tree  or 
building,  so  as  to  reduce  the  risk  of 
fogging  the  film  to  the  absolute  mini- 
mum. 

From  the  foregoing  remarks,  the 
reader  who  owns  the  simplest  of  cine 
cameras  may  realize  that  provided  he 
is  willing  to  take  the  trouble,  trick 
work  is  by  no  means  outside  his  reach. 
If  the  methods  to  be  used  are  somewhat 
laborious,  he  will  at  least  have  the 
pleasure,  when  viewing  the  finished 
product  on  the  screen,  of  having  ac- 
complished something  comparable  with 
the  man  owning  a  more  expensive  cam- 
era equipped  with  professional  devices. 


^I^oi/ie        tlie  ^Ylflontli 


•  Continued  from  Page  64- 

tionists  to  the  scenic  wonderland  which 
is  pictured  so  artistically  in  the  shots 
that  follow.  Yosemite  National  Park 
takes  in  a  good  deal  of  territory  and  is 
divided  geographically  into  several 
areas  of  which  some  scenic  attraction 
is  the  central  point,  such  as  Tioga  Lake, 
Mariposa  Big  Trees,  etc. 

Throughout  the  picture,  directional 
signs  and  location  markers  are  used  in 
place  of  titles  as  sub-captions.  Usually 
one  or  more  members  of  the  party  are 
brought  into  the  picture  for  closeups 
by  arranging  them  behind  the  signs.  A 
series  of  scenes  of  the  subject  identified 
by  a  sign  invariably  follow  in  well 
edited  order.  For  example,  there's  a 
sign  announcing  the  Mariposa  Big 
Trees.  Behind  it  is  one  of  the  men  in 
the  party  with  his  camera,  shooting  the 
scenic  panorama  before  him.  Then  fol- 
lows a  series  of  shots  of  some  of  the 
biggest  of  the  big  trees,  cut  purposely 
here  to  suggest  the  subject  of  the  fili.a- 
er's  attention. 

Every  point  of  interest  within  the 
park  is  covered  in  a  like  manner  \\  ith 
interesting  variations,  of  course.  Also 
the  running  gag  is  interjected  at  regu- 
lar intervals.  We  see  Uncle  Lou 
searching  for  his  keys,  then  the  little 
girl  appears  to  claim  her  reward  and 
surrender  the  ke\s.  Another  time. 
Uncle  Lou  awakens  from  a  nap,  dis- 
covers his  wrist  watch  missing.  The 
little  lass,  of  course,  proves  the  finder, 
and  another  of  Uncle  Lou's  coins  goes 
jingling  into  her  slacks  pocket. 

Frequently  a  picture  of  this  kind 
fails  to  gain  expected  audience  response 
through  lack  of  adequate  informative 
titles.  Rankin's  picture  is  an  exception. 
It  is  probably  one  of  the  best  titled  pic- 
tures seen  bv  this  reviewer  in  manv 


months.  Not  only  are  titles  plentiful, 
well  arranged,  and  photographed,  but 
they  are  excellently  and  thoughtful'y 
composed. 

Inquiring  of  Rankin  about  this  com- 
mendable feature  of  his  picture,  he 
wrote:  "My  eldest  daughter,  who  is  in 
her  senior  year  of  high  school,  obtained 
several  books  descriptive  of  Yosemite 
and  together  we  obtained  from  them 
the  necessary  data  for  each  of  the  titles 
that  went  into  the  picture.  We  are, 
therefore,  certain  that  the  text  of  each 
title  is  based  on  sound  fact  and  not 
merely  hearsay.  We  enjoyed  this  re- 
search work  which  proved  highly  inter- 
esting as  well  as  educational." 

Equipment  used  by  Rankin  in  filming 
"The  Story  Yosemite  Tells"  consisted 
of  a  Bolex  16  mm.  camera  with  three- 
lens  turret ;  a  Leitz-Hector  1  inch  f/1.4 
lens,  Hugo-Meyer  f/2.8  wide  angle 
lens,  and  a  3  inch  telephoto ;  an  ultra- 
violet haze  filter ;  an  electric  exposure 
meter ;  tripod ;  and  a  Bool  Cine  Fader. 
The  last  item  was  responsible  for  sev- 
eral very  professional-like  fades,  iris- 
dissolves,  and  other  effects. 

Rankin  was  especially  professional  in 
his  treatment  of  these  running  gag  se- 
quences, working  into  and  holding  the 
action  in  a  series  of  closeups  that 
heightened  interest  considerably.  More- 
over, he  wisely  shot  his  most  interesting 
subjects  from  several  camera  angles — 
often  from  different  locations  within 
the  park — so  that  he  had  a  good  variety 
of  material  to  work  with  at  his  editing 
board.  For  example,  after  introducing 
majestic  El  Capitan  through  a  brief 
shot  of  a  sign  marker,  he  shows  the 
subject  in  a  series  of  shots  made  from 
different  angles. 

Further  enhancing  these  scenes  is  the 
studied  composition  of  each  —  always 


HOME  MOVIES  FOR  FEBRUARY 


PACE  71 


well  framed  by  overhanging  foliage, 
nearby  trees,  or  interesting  rock  forma- 
tions. Indeed,  the  photography  of  this 
picture  hints  of  considerable  study  and 
indication  that  Rankin  studiously  put 
into  practice  much  of  what  he  has  read 
in  text  books  and  in  Home  Movies  on 
this  phase  of  cine  photography. 

Another  photographic  highlight  was 
the  manner  in  which  Rankin  followed 
up  a  scene  showing  a  couple  viewing  a 
distant  peak  through  binoculars.  Im- 
mediately following,  he  cut  in  a  masked 
shot  showing  the  scene  as  it  appears 
through  the  twin  apertures  of  the  bin- 
oculars. (This  shot  is  pictured  in  the 
center  of  the  group  of  frame-enlarge- 
ments illustrated  at  the  beginning  of 
this  article). 

It  is  interesting,  professional-like 
camera  touches  like  this  that  raises  this 
picture  above  the  ordinary  —  easily 
makes  it  the  Movie  of  the  Month.  Ad- 
mittedly simple  in  execution,  few  ama- 
teurs yet  realize  how  much  such  cine- 
matic innovations  mean  to  an  amateur 
f^lm. 

The  picture  proceeds  to  show  other 
points  of  interest  within  the  park — 
Tuolumne  Meadows,  Tioga  Lake, 
summer  snows,  waterfalls,  etc.  But 
throughout  the  picture,  members  of  the 
vacation  party  move  about  the  scenes 
naturally,  adding  an  additional  note  of 
interest  to  otherwise  static  shots  that 
might,  in  the  hands  of  one  less  capable, 
prove  just  another  series  of  "still  cam- 
era" compositions. 

The  picture  concludes  with  a  scene 
within  one  of  the  park  cabins.  Bright 
sunshine  floods  the  room  where  the 
little  girl  sits  at  a  table  counting  the 
coins  which  she  accumulated  retrieving 
Uncle  Lou's  misplaced  keys.  Sitting 
nearby  is  her  mother,  also  Uncle  Lou, 
who  seems  a  little  disturbed  when  he 
realizes  the  great  cost  of  his  carelessness. 

It  occurred  to  us  that  Rankin 
missed  a  trick  at  this  point  by  not  con- 
tinuing his  gag  —  having  Uncle  Lou 
borrow  back  the  money  from  the  little 
girl  in  order  to  buy  gasoline  for  the 
trip  home. 


information 

I 


r 


ease  .  .  . 


•  Continued  from  Page  46 

A.  An  exposure  meter  can  be  of  little 
use  to  you  in  determining  exposure  for 
projected  backgrounds  because,  for  one 
reason,  the  light  coming  from  projector 
in  back  of  screen  is  intermittent.  Best 
results  will  be  obtained  when  several 
test  shots  are  made  in  advance  at  dif- 
ferent exposures. 


»/V0  HANDLES  TO  GET  INTO  YOUR  WAY 

You  won't  know  what  tripod  efficiency  is  until 
you've  attached  both  the  'pod  and  your  camera 
to  the  GEARMASTER.  Here  is  a  head  that's  so 
revolutionary,  yet  so  simple  that  you'll  wonder 
why  nobody  ever  thought  of  it  before. 

>  ROCK-STEADY  MOWf  PANORAMAS 

It  operates  entirely  by  precision-gears.  No  handle  to  push  you  in  the 
face  or  to  tangle  your  arms.  No  fighting  with  your  camera  when  you 
need  fast  action.  No  slipping  around  at  crucial  moments.  GEARMASTER 
has  just  two  controls:  one  for  tilting,  the  other  for  panning.  Complete 
circular  panoramas  may  be  made  by  simply  turning  the  panning  handles. 
Movie-makers  may  tilt  and  pan  at  the  same  time  .  .  .  while  "still" 
cameras  may  be  more  readily  positioned.  Heavily  chrome  plated,  care- 
fully engineered  and  constructed.  Fits  all  tripods  with  head  base  up  to 
3V^"  in  diameter.  Unconditionally  guaranteed  against  defects  in  work- 
manship and  materials  for  5  years.  ^17.50,  including  Excise  Tax. 

>  EVERY  TRim  ADWSTmNT  EASILY  AND  QUICKLY  MADE 

Manufactured  and  Distributed  by 

rn  Representative:  Frank  A.  Emmet  Co.,  '  C/ 


Western 

2707  W.  Pico  St..  Los  Angeles.  Calif 


155  East  44th  Street,  New  York,  N.  Y. 


Would  You  Spend  50c 

for  the  best,  most  complete  and  authorita- 
tive book  on  processing  home  movie  films? 
You  bet  you  would;  and  that  is  all  it  costs. 
"How  to  Reverse  Movie  Film"  tells  how  to 
do  it,  gives  all  popular  formulas,  and  in- 
cludes plans  for  building  your  own  home  re- 
versal equipment.  Send  us  50c  today.  We'll 
mail  your  copy  at  once. 

HOME  MOVIES 

6060  SUNSET         HOLLYWOOD,  CALIF. 


PACE  72 


HOME  MOVIES  FOR  FEBRUARY 


(inD  mOViE  PCCiSSORKS 


1942 


GET  THIS  FREE  BOOK! 
Every  Home  Movie  Fan  Should  Have  It  .  .  . 

Brand  New  .  .  .  just  out!  Chuck  full  from 
cover  to  cover  with  the  choicest  bargains 
you  ever  heard  of  .  .  . 

Including    ESSCO    double    8mm    and  16mm 
HOME  MOVIE  FILM  as  low  as  $1.00  per  Roll, 
including  Processing. 

Also  Bulk  Film,  processing  rates,  etc.  Dozens 
of  daily  needed  items  and  a:c2ssories,  screens, 
reels,  titlers,  etc.,  including  BIG  NEW  LIST 
of  166  FILM  SUBJECTS,  glamour  films,  car- 
toons, westerns,  historical,  adventure  and 
sports  fi  ms  for  8mm  and   16mm  projectors. 

SEND  FOR  THIS  FREE  BOOK  TODAY 
Keep  it  for  ready  reference.    Your  name  on 
a   postcard   brings   it   by   return   mail  FREE! 


^Ucja  ^dm  Pnxiducii 


6117  S.Campbell  Av.fSBV  Chicago 


COLOR 


TITLES 


TITLE 
OUTFIT 

for  making 
KODACHROME 
White  or  Black 

ON  PHOTOGRAPHIC  BACKGROUNDS 

Outfit  incliule.s;  A-t«-Z  Title  Maker  (12  Alphaljets, 
1600  Initials)  .'10  FiKurettes  in  color;  Title  Frame 
(7"  X  9"  area)  12  sheets  of  8"  x  10"  clear,  washable 
Acetate  Film;  6  jars  of  special  Colors  (Red,  Yellow, 
P.lue.  Green,  TOiite,  Black).  10  Pliotographic  8"xl0" 
BackKroiinfl  Prints:  10  sheets  8"xl0"  Tracing  Paper; 
Brash  and  cnmplete  instructions.  FREE  SAMPLE  KIT. 
Complete  outfit  at  your  dealer  or  send  S6.30  direct 
A-to-Z  MOVIE  ACCESSORIES 
175    FIFTH    AVE..    Dept.    34,    NEW    YORK  CITY 


GIVE  YOUR  AUDIENCES 

A     A  REAL 
^  SHOW! 

Top  off  your  next  screening  with  the  most 
"unusual"  films  ever  produced. 

"FOR  ARTISTS  ONLY" 

"ALL  COLOR  ART  STUDIES'  and  many 
other  unique  productions  starring  the  most 
eye-exciting  girls  in  the  world! 

But  HURRY!  Chemical,  film  costs  force 
higher  prices.  Write  today  for  LOW  PRICE 
FILM  LIST.    Include  10c  for  sample  film. 

LABORATORY 
PRODUCTS  CO. 

Hollywood.  Calif. 


CINETEST 

1522  N.  Mariposa 


8 ENLARGED     ifl  ^     REDUCED  ^ 
TO    16    TO  8 

CEO.  W.  COLBURN  LABORATORY 

Black  and  White  and  Kodachrome 

Special  Molion  Pnliire  Prinlinf, 
n97-A  MERCHANDISE  MART 
CHICAGO 


•  Continued  from  Page  57 

film  can  reach  equally  as  many  people 
as  the  35  mm.  film  produced  for  theatre 
release — and  can  be  produced  and 
placed  before  the  public  faster  and  more 
readily  in  any  emergency. 

Here,  then,  is  the  assignment  for 
qualified  cine  amateurs  and  cine  club 
groups.  How  best  to  proceed,  of  course, 
is  important.  First  step  is  to  immedi- 
ately contact  your  local  Office  of  Civil- 
ian Defense  and  offer  your  services, 
pointing  out  that  you  can  aid  them  in 
their  task  by  producing  motion  pictures 
of  an  informative  and  instructive  na- 
ture cn  the  various  civilian  defense  pro- 
cedures. There  is  little  doubt,  once 
convinced  of  your  ability  to  turn  out 
an  acceptable  picture,  that  the  Defense 
Council  will  accept  your  services.  But 
\ou  must  be  prepared,  too,  to  provide 
or  obtain  prompt  and  extensive  public 


ende  .  .  . 


screenings  of  your  pictures,  otherwise 
the  e<¥ort  will  be  of  little  value. 

It  is  also  important  that  you  work  in 
close  cooperation  with  the  Office  of 
Civilian  Defense,  obtaining  their  advice 
on  each  phase  of  all  defense  procedures 
when  preparing  your  shofJting  script. 
Most  of  the  civilian  defense  instructions 
are  now  available  in  printed  form 
which  the  filmer  may  obtain  as  a  guide 
or  to  supply  inspiration  for  his  defense 
film  continuit\  . 

Civilian  Defense  subjects  most  adapt- 
able for  presentation  in  motion  pictures 
by  the  amateur  filmer  at  this  time  are 
as  follows: 

1.  Public  conduct  during  blackouts, 
air  raids,  etc. 

2.  Conduct  of  school  children  during 
air  raid  warnings  occurring  during 
school  hours. 


HOME    MOVIES    AND  DEFENSE 


•  Many  16mm  filmers  are  gearing 
their  cinematic  activities  to  the  defense 
effort,  offering  filming  and  screening 
facilities  where  the  need  is  urgent  for 
instructing  civilians  in  home  defense. 

Many  letters  are  being  received  by 
the  editors  seeking  advice  as  to  how- 
movie  amateurs  may  best  serve  with 
their  cameras  and  projectors,  or  re- 
questing technical  information  perti- 
nent to  the  production  of  creditable 
defense  films. 

Ho.ME  Movies'  consultants,  through 
long  association  with  leading  techni- 
cians of  Hollywood's  studios,  are  able 
to  furnish  such  information  quickly 
and  completely  on  every  phase  of  mo- 
tion picture  production  and  are  offer- 
ing this  service  freely  to  all  amateurs 
and  amateur  club  groups. 

Typical    of   letters    received    is  the 
following  from  Jungkind  Photo  Sup- 
ply, Little  Rock,  Arkansas: 
Gentlemen : 

One  of  our  State  departmen;s  is 
preparing  to  film  a  Civilian  De- 
fense picture  and  they  intend  using 
table  top  miniature  sets  for  their 
bombing  scenes. 

Have  you  any  descriptive  matter 
that  will  aid  them  in  staging  shots 
of  this  nature?  They  need  informa- 
tion of  getting  the  right  perspective 
to  make  su:h  miniature  scenes  real- 
istic. They  are  using  a  Cine  Kodak 


Special.   Will  appreciate  any  infor- 
mation you  can  give  us. 
Sincerely  yours, 

Jungkind  Photo  Supply. 

For  the  benefit  of  readers  who  may 
be  interested  in  such  information, 
we  give  here  some  of  the  data  sup- 
plied in  our  reply  to  the  above  letter: 

1.  In  construction  of  miniature  sets, 
all  objects  must  be  built  according  to 
scale.  If  a  miniature  of  a  subject  is 
to  appear  in  the  scene  and  the  actual 
height  of  subject  is  six  feet,  by  estab- 
lishing a  scale  of  1  inch  to  1  foot,  the 
miniature  subject  should  be  six  inches 
in  height.  The  larger  scale  miniatures 
are  built,  the  better. 

2.  Use  a  wide  angle  lens  on  minia- 
ture shots  to  gain  greater  depth  of 
focus. 

3.  Be  sure  to  set  camera  so  that 
miniature  set  will  be  photographed  at 
what  would  be  equivalent  to  eye  level. 
Otherwise  scene  will  appear  as  though 
shot  from  top  of  building  or  other  ele- 
vation. 

4.  Miniature  shots  containing  action 
should  be  photographed  in  slow  mo- 
tion, preferably  at  a  speed  of  64 
frames  per  second. 

Home  Movies  readers  are  invi:ed  to 
write  the  editors  without  obligation 
regarding  any  problem  encountered  in 
defense  film  production  as  well  as 
regular  home  movie  making. 


HOME  MOVIES  FOR  FEBRUARY 


PACE  73 


3.  The  Housewife — how  she  can  aid 
in  the  war  ef¥ort,  devoting  3  or  4 
hours  a  day  to  Red  Cross  work. 

4.  The  Husband — his  duties  as  an  air 
raid  warden,  or  on  the  Auxiliary 
Police  or  Fire  Force. 

5.  Salvaging  of  war  materials — paper, 
rubber,  scrap  iron.  Disposal  through 
sale  or  donation  to  proper  agencies. 

6.  Purchase  of  Defense  Bonds  and 
Stamps,  aimed  to  stimulate  purchase 
by  adults  and  children  alike. 

7.  How  to  combat  Incendiary  Bombs. 

8.  What  to  do  in  case  of  air  raid. 

Civilian  Defense  Councils  are  pre- 
pared to  furnish  instructions  on  all  of 
the  above  subjects. 

How  to  finance  defense  film  produc- 
tions, of  course,  must  receive  early  con- 
sideration. Some  amateur  groups  al- 
ready active  in  filming  such  pictures 
have  started  out  on  their  own  funds 
contributed  patriotically.  A  sound  pro- 
gram of  production  entailing  more  than 
one  picture,  however,  will  require  funds 
reaching  into  the  hundreds  of  dollars. 
Here  dependable  sponsors  should  be 
sought  from  among  business  houses  who 
might  realize  some  advertising  or  pub- 
licity through  screen  credits. 

One  of  the  first  amateur  cine  clubs 
to  get  into  action  on  civilian  defense 
film  production  is  the  Cinema  Club  of 
Long  Beach,  California.  President 
Roosevelt's  request  for  a  declaration  of 
war  had  scarcely  set  the  nation's  radio 
audience  to  rolling  up  its  sleeves  for  the 
long  pull  ahead  when  Mildred  Cald- 
well and  Dr.  Franz  Buerger,  directors 
of  the  club  were  fast  at  work  on  plans 
for  the  club's  first  civilian  defense  in- 
structional picture. 

Three  major  oil  companies  were  con- 
tacted by  Mrs.  Caldwell  for  the  pur- 
pose of  sponsoring  the  proposed  films, 
and  latest  reports  are  that  on  the  basis 
of  the  Long  Beach  Club's  outstanding 
1941  efforts,  more  finances  than  may 
be  required  have  already  been  offered 
the  club. 

With  the  financing  problem  out  of 
the  way,  the  next  step  was  to  prepare 
suitable  scripts  covering  the  most  im- 
portant immediate  problems  of  civilian 
defense.  Mrs.  Caldwell  and  Dr.  B  uer- 
ger  visited  the  chief  Defense  Counsellor 
in  Los  Angeles,  told  of  their  plan,  and 
obtained  warm  acceptance  of  their 
club's  patriotic  offer  of  assistance. 
Made  immediately  available  to  them 
was  an  important  script  writer  from 
one  of  Hollywood's  studios,  who  at  this 
writing  is  preparing  the  first  shooting 
script. 

The  club's  initial  defense  film  will 
pictoralize  what  the  housewife  can  do 
to  aid  in  the  current  war  effort.  It  will 
picture  suggested  activity  in  Red  Cross 
work,  assistance  of  school  teachers  and 


Craig  Senior  Splicer 

A  professional  type  dry  splic- 
er. Its  unique  design,  com- 
bined with  precision  machin- 
ing and  sturdy  construction, 
makes  it  the  outstanding 
splicer  for  the  amateur.  OnW 
4  easy  operations  to  make 
perfect,  straight  splices  .  .  . 
quickly  .  .  .  accurately  .  .  . 
and  without  wetting  film. 
For  16mm  Sound  or  Silent 
and  8mm  Film.  $10.95. 

AT  ALL  DEALERS! 
WRITE  FOR  LITERATURE 


Craig  Projecto-Editors 

Action  —  Edit  the 
Studio  Way! 

For  careful  inspection,  sloiv 
motion  if  desired,  of  actual 
movement  on  a  brilliant  min- 
iature screen. 

8mm  model,  illustrated  above, 
with  8mm  Splicer,   Jr.  Re- 
winds and  Cement — mounted 
on  hardwood  board,  $37.50. 
8mm  unit  alone,  $29.50. 
16mm  unit,  with  Sr.  Splicer 
and  Sr.  Rewinds,  $59.50. 
1 6mm  unit,  with  Sr.  Splicer 
and  2000  ft.  DeLuxe  Rewinds. 
$61.50. 
Makes  Editing  a  Pleasure! 


Craiq  Senior  Rewindf  Craiq  Junior  Combination  Crsi9  Junior  Splicer  Croiq  Senior  Combinotian  Cr«i<|  Dc  Luie  Rewindi 


CRAIG  MOVIE  SUPPLY  COMPANY 

LOS  ANGELES,  CALIFORNIA      •      SEATTLE,  WASHINGTON     •      SAN  FRANCISCO,  CALIFORNIA 


TITLING  IS  REAL  FUN 
with  a  "MASTER  TITLEER" 


$9.75 

TITLEER 

$5.50 
LIGHT  UNIT 

$5.50 

PROFESSIONAL 
ATTACHMENT 


THESE  FEATURES  MEAN  FUN  FOR  YOUR 
HOBBY! 

Title  cards  may  also  be  photographed  at  4", 
6",  8"  and   12"  distance.    Zoom  titles  and 
superimposed   titles  are  easily  made  on  the 
Titleer.   Accurate  alignment  is  assured  with  a 
custom  made  camera  base  for  your  partitcular 
camera.    Bases  are  interchangeable.    All  parts 
are  adjustable  on  the  Titleer  base,  for  table 
top  and  ultra  close-up  photography.  Titleer 
may  be  used  on  any  tripod  or  suspended  in  a  ver- 
tical position.   The  lighting  assembly  is  easily  re- 
moved or  placed  at  any  position  on  the  Titleer  base. 
Camera  bases  to  fit  popular  cameras. 

See  at   Your  Camera  Store 


ir  Order  Direct 


HOLLYWOOD  C!NE  PRODUCTS  CO. 


3221  SO.  FICUEROA  ST. 


LOS  ANGELES,  CALIF. 


PACE  74 


HOME  MOVIES  FOR  FEBRUARY 


The  Amalcur^s  Vital  ISeed  for 
Makiiiff  Professional  Pictures. 

Basic  Model  $9.95 

Including  Excise  Tax 


The  Bala  Motion  Picture 
Engineering  Co. 

166  Victor  Avonuo         Highland  Park,  Mich. 


MAKE  YOUR  OWN  TITLES 


HAMILTON  DWICHT  COMPANY 
ISS  E«8t  44th  8tr<Mil  Now  York  City 


SPECIAL    BUY!  " 

4 PARK  CINE  $  I  00 

HOLLYWOOD-TYPE  Titles  X 

M.ikc  yuuf  imivK  s  ■  ll.i^li  l^o-l-'-y-w-o-o-d''  with 
those  crisp  piulcssionjl  titles  ready  fo  splice  to 
your  film!  lAMIlY  Al  BUM  VACAIION  DAYS 
2  styles  of  I  HE  tND  yours  for  only  5>1,  Sm.irt 
lettering'  Interesting  twt  kuroiinds!  Unique  treat- 
ments' Will  pep  up  your  films  over  and  over 
again  If  you  want  these  -1  unusual  titles,  slip  $1 
bill  check  or  money  order  into  an  envekpe  with 
your  order  today'  Specify  8mm  or  16mm  This 
offer  is  for  a  limited  time  only  while  the  titles 
in  stock  l.ist'    So  hiiiry'    Snul  %\   tod.iy  lo 

PARK  CINE  LABORATORY 

120  West  41st  St.  New  York  City 


SI'IU  lAI  Klil.liASIi 

CHICAGO'S  WORLD  FAIR,  1933-1934 

CET-ACQUAINTED  OFFER: 
A  Complete  Reel  of  the  above  film  (8  or  16mm) 
for  $1.00 

Thii   Ultl  I'riilK  /'.III-  m,m»r;i  I 

CROWN  PRODUCTIONS 

159  E.  ChicaRo  Ave.  Chicago,  III. 


Students  in  cast'  of  air  raid  alarms,  and 
how  tlu-  housewife  may  aid  in  the  na- 
tional war  effort  throufih  home  salvag- 
ing of  sucli  vital  materials  as  waste 
l>aper,  rags,  old  rubber,  and  scrap  iron 
and  aluminum. 

i  he  second  fihn  on  the  clui)'s  pro- 
l)osed  jiroductioM  schedule  concerns 
children — precautions  they  should  take 
while  at  school  in  the  event  of  an  air 
raid  alarm,  and  how  they  can  aid  in 
defense  of  the  nation  through  donations 
to  the  Red  Cross  and  purchase  of  De- 
fense Savings  Stamps. 

( )ther  i^ictures  scheduled  include 
"Comhating  I'he  Incendiary  Bomb," 
"The  Rumor  Factory  —  How  to 
'Scotch'  It!",  and  a  series  depicting  the 
sjiecific  duties  of  Air  Raid  Wardens, 
Auxiliary  Police,  and  Auxiliary  Fire- 
men. 

All  pictures  to  he  jiroduced  by  the 
Long  Heach  grouji  will  be  in  sound — 
that  is,  a  sound  track  of  commentary 
and  suitable  sound  effects  is  to  be 
dubbed  in.  Latest  estimates  reveal  that 
each  production  will  entail  an  expendi- 
ture of  close  to  $M)() — most  of  it  for 
film  and  sound. 

Producing  the  pictures  is  just  part  of 
the  program  embarked  upon  by  the 
Long  Heach  Cinema  Club.  Exhibition 
of  each  picture  has  come  in  for  the 
necessary  advance  planning  and  execu- 
tion, too.  Through  a  long  list  of  pic- 
tures w  hich  this  club  has  produced  and 


exhibited  publicly  they  have  built  a 
prestige,  a  loyal  following,  that  assures 
an  eager  audience  for  the  defense  films. 
They  will  have  free  access  to  the  city 
auditorium  for  screening  their  pictures 
where  long  they  have  exhibited  other 
club  productions  to  large  audiences. 

All  school  auditoriums  in  the  City  of 
Long  Heach,  plus  those  in  outlining  ter- 
ritories, are  being  scheduled  for  early 
showing  of  the  defense  films,  of  which 
several  duplicate  prints  will  be  made; 
and  club  members  arc  being  divided 
into  groups  to  handle  projection  of  the 
pictures  on  specified  evenings.  Local 
newspapers  have  assured  Directors 
Caldwell  and  Buerger  of  the  necessary 
publicity  to  bring  civilian  audiences  to 
see  the  picture  at  the  proper  time. 

Thus  the  movie  amateur's  opportun- 
ity to  serve  in  this  emergency  is  defin- 
itely apparent  in  this  concrete  plan  al- 
ready taking  shape  in  the  hands  of  Long 
Beach  amateurs.  There  are  others,  no 
doubt,  who  are  probably  equally  active. 
'I'hose,  whose  plans  along  similar  lines 
have  not  yet  crystallized,  we  hope  will 
gain  impetus  from  this  report. 

"Filming  For  Defense"  might  well 
be  another  branch  added  officially  to 
the  list  of  defense  efforts  now  being 
geared  to  our  Nation's  all  out  plan  to 
end  the  march  of  aggressor  nations.  En- 
list today.  Your  local  Civilian  Defense 
Council   will   welcome  your  support. 


Eniulsimi  Ratings  for  Bmin  and  lOmrn  Films 


AGFA 

lOimn  SSS  Van  

10  Ilypiin  

Kimm  I'lmcliromutic  

Klnini  Siipronic  I'nn.  Negative. 

Miiniii  l''in()|>an  Ntifiiitivo  

Itiruni  I*(Ksitiv('  ,  

It'miiii  I'icniicliriinu'  

Siiiiii  'I'vviii-S  llypiui  

8mm  Filmitpiii)   


•fDUI'ONT 

Uruuliir  I'lm  (K.-V.)  TvprSai   

Hupor  I'liii  (Ucv.)  Type   

Sup<'ri(ir-2  (Ni'n-l'os  iir  Kcv)  Ty|H'  301 
'i  ypfilU  I'liii  (N<-K.-l'(w.  or  Kevcrsiil) 

l'(isitivr  Type  tilM)  

SoiiikI  UccdriliiiK  Positive  'I'ypi'  1101 . . 

KASTMAN 

U'mim  SiiptT  XX  Pun  

It'mim  SuiHT  .\  Pan   

It'imm  Safety  

I  liinin  Soiiiul  Pan  

Kimm  Pan.  Ni'Kative  

ICmim  Piwitive  

8min  Super  X  Pan  

Smni  ItoKiilar  I*nn  

KcHliichromc  (8  and  10mm)  

KiKlachriime  "A"  (8  and  lOmni)  


(IKVAKKT 
Super  Uevorsivl. 

Panohro  

Ortlio  


Schelner 


20 


Weston 


Q-E 


125 
48 
16 

32 
10 
32 
12 
12 
12* 


(IICNKHA 

Su[K*r  Meteorpan.  . . 
SuiKT  I'anehromatic. 

Super  Ortho   

Movetone  Ortho. . . . 
Scmi-Ortlio  

KIN  0  LUX 

No.  1  

No.  2  

No.  3  

CONSUMEU.S 

Ortlio  

I'anohro  

Colorcrome  

HOLLYWOOD 

S.  S.  Pan  

Pan   

Siuni-Ortho  

UNIVKX 

Standunl  

lUtrapan  

GUAPHICHROME 

Regular  

inu8   

Superpane»  No.  100. 
Super|)aiie!i  No.  24. . 
Colortone  


Schelnsr 


WeMon 


24 


40 


tHntings  for  last  four  Uuponl  films  arc  for  straight  development.  Ratings  for  reversal  depend  upon  proeessing  formulas 

anil  teclini(iue  employed. 
•With  filter. 


NOW!!!  S/n'inl  Ifss  In  oivii  find  <»/*er- 
titf  your   niovir   ramrra — l^ixul  with 

m\\  MIIVIE  FILM 


ONYX 

ONYX 

ONYX 

8 

24 

Hi-Spccd 

100 

tcct 

16 

$2.25 

$4.25 

$4.75 

25 

feet 

8/8 

1.00 

1.50 

1.65 

30 

tcct 

Univcx 

.65 

.95 

1.10 

RATINGS— 8  24  50  for  Daylight 
Reversal  Processing  Free  of  Charge. 
Write  for  />tiif  list  of  ulhci  ty/uf  (il  lilni  iiiitl 
thftfl'n  tih   fftr  htinic  fniu  twiui^. 


KENWOOD  FILMS 

818  E.  47th  St  CHICAGO,  ILL. 


HOME  MOVIES  FOR  FEBRUARY 


PACE  75 


t^eulewd      amateurs  ^  ^iimd  .  .  . 


•  Continued  from  Page  65 

decked  with  the  mounted  deer  head. 

Editing:  In  the  main  was  well  done, 
although  two  improvements  are  indi- 
cated. When  Hero  first  runs  up  the 
hill  after  the  deer,  he  is  shown  return- 
ing immediately  and  then  running  back 
uphill.  A  rhymed  subtitle  does  not  ade- 
quately explain  this  double  trip,  there- 
fore it  would  seem  to  be  out  of  place. 
Again,  Hero  and  Nimrod  are  shown 
in  a  long  shot  converging  on  the  tree 
behind  which  the  deer  was  supposed  to 
be  lurking.  Just  as  they  apparently  ar- 
rive at  the  tree,  scene  cuts  to  a  medium 
shot  showing  them  again  approaching 
the  tree.  It  would  have  been  better 
either  to  follow  them  in  the  long  shot 
until  they  discovered  there  was  no  deer 
behind  the  tree  and  then  cut  to  a  me- 
dium shot  showing  their  consternation, 
or  to  have  cut  the  long  shot  sooner. 

Titling:  Opening  title  was  excel- 
lently done  with  large  white  letters  on 
an  autumn  leaf,  doubtless  from  a  buck- 
thorn tree.  The  white  letters  of  the 
main  title  flashed  black  and  white  much 
like  a  neon  sign.  Subtitles  throughout 
were  in  rhyme,  typed  directly  on  leaves 
of  varying  shades.  Hand-lettering  on  the 
leaves  would  probably  have  been  more 
legible  and  technically  more  desirable. 
While  subtitles  were  generally  satis- 
factory, main  criticism  was  that  the 
rhymes  did  not  carry  thread  of  contin- 
uity. Amusing  prose  titles  would  have 
been  much  better  for  general  audience 
appeal. 

Photography :  Near-perfect  exposure 
in  Kodachrome  marked  excellent  cam- 
era work.  All  shots  were  outdoors,  and 
the  colorful  red  caps  and  hunting  jack- 
ets of  the  hunters  made  striking  con- 
trasts against  the  blue  sky.  We  would 
have  liked  to  have  seen  more  close-ups, 
but  realize  that  the  film  was  also  a  rec- 
ord for  the  hunting  party  and  it  was 
desirable  to  have  all  hunters  pictured. 

Remarks:  While  the  plot  idea  was  in 
the  realm  of  pure  imagination  and  pos- 
sessed few  qualities  of  realism,  the 
whole  thing  was  a  lot  of  fun  and  ably 
demonstrated  the  fact  that  a  little  plan- 
ning and  continuity  preparation  will 
lift  a  commonplace  subject  out  of  the 
class  of  mere  "record"  pictures  and 
place  it  among  the  ranks  of  the  best 
amateur  movies. 


"EMBRYO  SCIENTISTS" 
125  Ft.  8mm— by  M.  M. 


★  ★ 


A  series  of  pictures  relating  to  the 
classroom,  laboratory  and  individual 
project  activities  of  an  Eastern  high 
school  physics  class,  this  film  was  virtu- 
ally a  collection  of  scenes  that  could 


have  been  pictured  just  as  effectively 
with  a  still  camera. 

Continuity :  Film  opens  with  general 
shot  of  laboratory  and  students  studying 
a  certain  phase  of  physics.  This  was  fol- 
lowed by  a  few  scenes  depicting  a  class 
excursion  to  the  city  water  works. 
Then  a  series  of  shots  was  shown  of 
individual  students  with  their  various 
projects  made  during  the  year. 

Unfamiliar  as  we  are  with  the  nor- 
mal procedure  of  a  high  school  physics 
class,  we  nevertheless  suggest  a  few 
ideas  that  would  have  brought  contin- 
uity into  this  excellent  record  film. 
Open  with  the  class  coming  into  the 
laboratory  and  taking  their  regular 
desks.  Choose  a  simple  demonstration, 
typical  perhaps  of  a  classroom  or  labor- 
atory session,  and  show  the  instructor 
with  one  or  two  students  staging  the 
demonstration.  A  title:  "Now  the 
Embryo  Scientists  Do  the  Experiment 
Themselves,"  followed  by  the  general 
shot  of  heads  bent  industriously  over 
desk  problems,  or  closeups  with  physics 
equipment.  Instead  of  trying  to  take  in 
the  entire  laboratory  schedule  for  the 
year,  this  filmer  would  have  improved 
his  reel  by  limiting  his  continuity  to  a 
single  phase,  treating  it  carefully  and 
completely  with  plenty  of  closeups. 
Then  by  breaking  into  the  field  trip  se- 
quence with  another  subtitle:  "All  Is 
Not  Book  Learning  .  .  .  We  Study 
Physics  in  Action."  A  shot  of  the  water 
works  tower  carrying  the  name  on  it 
would  be  sufficient  to  identify  the  locale 
without  further  title  introduction  to  the 
excursion  sequence.  "We  Translate 
Our  Learning  into  Practice"  would  be 
a  good  title  for  pictures  of  project 
work,  which  should  show  in  process  of 
construction,  each  student  actually 
working  on  his  device. 

Titling:  Absence  of  even  the  mini 
mum  number  of  subtitles  to  explain  the 
various  activity  pictures  in  the  film 
leaves  the  unitiated  viewer  without 
much  basis  on  which  to  recognize  many 
of  the  scientific  phases  pictured.  A  few 
words  of  explanation  would  have  en- 
hanced each  sequence  and  made  the  film 
of  general  interest.  Unnecessary  for 
class  consumption,  titles  are  essential  to 
understanding  for  others  M-ho  see  the 
movies. 

Photography :  The  filmer  is  to  be 
commended  on  using  a  tripod  and  a 
good  exposure  meter.  His  films  bene- 
fitted thereby.  Using  a  Keystone  8  with 
f:1.9  lens,  he  achieved  generally  excel- 
lent results,  although  in  a  few  cases 
he  failed  to  secure  sharp  focus. 

Remarks:  With  a  little  more  plan- 


WIDE  ANGLE 


T  ake  Wide  Angle  Shots 
With  Your  8mm  Camera! 

The  MACK  Wide  Angle  Lens  is  designed  to 
overcome  the  inherent  limitation  of  field  com- 
mon to  all  8mm  cameras.  It  covers  TWICE  THE 
WIDTH  or  FOUR  TIMES  THE  AREA  included  by 
regular  lens. 

•  DOUBLES   Width   of   Field  Covered! 

•  Screws  in  FRONT  of  Regular  Lens — 
No  interchanging! 

•  Has   Precise   FOCUSING  Adjustment 
2  Ft.  to  Infinity! 

Ideally  suited  to  both  black-and-white  and 
color  photography. 

PRICE,  including  S9  9  00 

excise  tax   "^^i^JiW 

Models  for  all  regular  8mm  movie  camera  lenses, 
fixed  focus  or  focusing,  of  apertures  from 
f  1.3  to  f  3.5. 
At  Your  Dealer,  or  Write  for  Full  Details 


^  Vencinit 


OPTICAL  CO. 

AS,  CALIFORNIA 


CORONA 


BETTER 
BULK 
FILMS 


SAME  PRICE  FOR  16MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED    100  Ft.  400  Ft. 

SUPER-PAN    24-16     3.15  11.60 

ORTHOCHROMATIC      12-  4      1.75       6  00 

SEMI-ORTHO   .    12-  4      1.30       4  25 

MACHINE  REVERSAL  PROCESSING— Double  8 
or  16mm— 100  ft..  85c;  50  ft.,  65c;  25  ft.,  50c. 
Special  Delivery  Service  on  All  $5.00  Orders 
All  Orders  Shipped  Postpaid  Except  C.O.D. 
FREE  BOOKLET  on  home  processing  instruc- 
tions, plans  and  formulae  with  orders. 
Single  copies,  15c. 

CORONA  FILM  LABORATORIES 
1028  NEW  YORK  AVE.      BROOKLYN,  N.  Y. 


LEARN  TO 

SOUND 


PRODUCE 

FILMS 


IN  A  PROFESSIONAL  STUDIO 

Interior,    Exterior   filming  and  recording 
technique,  script  nTlting.  directing 

COOPERATIVE  FILM  WORKSHOP 
Workshop  menihers  help  prepare  movies  for 
commercialdisfrihiition  on  profit  siiaring  basia. 
HARTLEY    SCHOOL   OF    FILM  MAKING 
20  West  47th  St..  New  York  LO.  3-2343 

KodachrDine 

MAPS C'A^/m FINE  TITLES 

Ceo.  W.  Colburn  Laboratory 

Special  Motion  Picture  Printing 

n97A  Merchandise  Mart,  Chicago 

tYourOwn 

Film  Titles 

Photo  titlee, stationery,  grree  ting 
cards,  bookplate,  advertising. 
Easy  roles  furnished.  Junior 
Outfits  $8.25  op.  Senior  $17  up. 
Print  for  Others,  Big  Profits.  Sold 
direct  from  factory  ooly.  Write  for 
free  cstaloR  and  ail  details.  Kelsey 
Pr*M«ft.  W-94,  IMeriden,  Conn. 


PACE  76 


HOME  MOVIES  FOR  FEBRUARY 


Get  This 
$31.50  CRAIG 
16mm  Junior 
Editor 

$23.65 


A  complete  editing 
outfit  in  one  compact 
unit.  No  flicJcer  .  .  . 
>«top  action  on  any 
frame  .  .  .  ease  ot 
cutting  and  splicing. 
List  $31.50  ...  at 
IIASS  .  .  . 
Complete.-.-  $23.65 
Write  Dept.  C 


NO  W  ! 

A  High  Quality 
IGmin  Reversible 

Outdoor  Film 
100-ft.  Roll  SI  .98 

For  Only   

Rating  Scheiner  1 8 

A  High  Quality 
8min  Reversible 

Outdoor  Film 
Double  8  98*^ 


25  ft 
For  Only 


Fast   Service  —  Processing    same    day  included. 
Ask  your  dealer  or  send  money  direct. 

'^nte  for  prices  on  developing  and  processing 
your  Smm  and  16mm  films — even  if  you  bought 
them  elsewhere 

Visual  Instruction  Supply  Corp. 


1757  Broadway 


Brooklyn,  N.  Y. 


ning  in  advance  for  continuity,  and 
more  subtitles  to  explain  the  action, 
"Embryo  Scientists"  would  be  of  con- 
siderably more  value  to  audiences  out- 
side the  classroom.  Embracing  activi- 
ties of  the  entire  class,  the  film  was  of 
undoubted  worth  to  the  students. 

THE  DELLS  OF  THE  WISCONSIN  RIVER  - 
ZOO  Ft.  Smm  Koda.— By  A.  M.  ★    ★  ★ 

Marked  by  splendid  photography  and 
excellent  titling,  this  picture  neverthe- 
less was  lacking  in  the  variety  which 
would  give  it  universal  appeal  in  sus- 
tained interest  throughout. 

Continuity :  Picture  opens  with  scene 
at  the  ticket  office  and  boat  house  of  the 
excursion  company  which  takes  parties 
up  this  spectacular  gorge  of  the  Wis- 
consin river.  Continuity  was  assured 
by  following  the  itinerary  of  the  excur- 
sion, noting  the  interesting  historical 
and  natural  phenomena  seen  along  the 
way  and  on  short  stops.  Each  stop  and 
special  point  of  interest  was  adequately 
explained  by  brief  subtitles. 

Editing :  An  excellent  means  was  used 
by  this  filmer  to  return  the  party  to  the 
boat  after  each  stop.  He  cut  in  a  shot 
of  water  curling  past  the  boat's  prow. 
In  general,  it  would  be  suggested  that 
too  much  footage  was  included  of  the 
rather  uninteresting  parts  of  this  6-mile 
gorge,  where  nothing  of  interest  was  to 
be  seen  except  blue  water  and  green 


slopes.  Only  bad  note  was  the  great 
number  of  fogged  frames  which  defin- 
itely should  be  deleted. 

Titling:  Perfectly  exposed  and  bril- 
liantly phrased  for  succinct  explanation 
that  stimulated  the  imagination,  the 
titles  composed  of  white  Knight  title 
letters  on  a  blue  background  carried 
continuity  and  interest  in  exceptional 
fashion. 

Photography :  Exposure  obviously 
was  judged  by  meter,  for  every  scene 
was  well  exposed.  The  filmer  did  an 
exceptional  job  of  steady  camera  hold- 
ing, considering  limitations  of  space  on 
the  boat  which  prevented  use  of  tripod. 
Introduced  by  a  subtitle:  "Millions  of 
years  of  weathering  have  caused  many 
weird  rock  formations,"  a  series  of  sil- 
houetted shots  of  these  gigantic  forms 
marked  a  highlight  in  good  photogra- 
phy. One  stop  at  a  Winnebago  Indian 
exhibit  offered  opportunity  for  colorful 
scenes  of  people  wearing  Indian  head- 
dresses. 

Remarks:  In  general,  it  would  be 
suggested  that  a  desirable  improvement 
would  have  been  shots  of  persons  in  the 
party  and  their  reactions  to  sights  of 
the  trip.  The  filmer  evidently  was 
cramped  for  space  on  the  boat,  but  it 
would  have  offered  considerably  appeal 
to  cut  back  from  a  scene  of  rock  forma- 
tions to  faces  of  persons  on  the  boat  to 
show  their  reaction. 


^em  interest  in 


9 


f 


Continued  from  Page  60 


We  know  you're  proud  of  your 
16mm  movies!    We're  proud  oi 
1    our  titles,  too!  They'll  give  youi 
movies    that    Hollywood  touch. 
Our   Kodachrome   titles  sparkle 
with  a  brilliant  array  of  color. 

SOUND  xmEs 

10  words  $1.50 
KODACHROME  "HTLES 

10  words  52.50 
»       SEND   TRIAL  ORDER  TODAY 
\    1 0  words  of  copy  on  silent  ^1 
^     film.  Postpaid  for  only 

NOTICE  TO  MOVIE  FANS 

If  you  take  movies  '8mm  or  16mm)  you  simply  cannot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo 
Bargain  Book  now  being  distributed  throughout  the 
U.  S.  Lists  all  the  best  moving  pictiu^e  equipment  from 
all  the  leading  manufacturers,  describes  them.  The 
prices  save  you  money  in  many  cases.  You'll  find  the 
latest  in  lenses,  screens,  meters,  pi^ojectors,  cameras, 
film,  litlers,  editing  outfits,  tripods,  tjooks  on  editing, 
titling,  etc.  This  Bargain  Book  is  invaluable  to  you  as 
an  equipment  REFERENCE  book.  Don  t  wait  a  day 
longer   to   send   for   your   Free   copy.    Write   us  now. 

CENTRAL   CAMERA  COMPANY 
230  S.  Wabash  Dept.  B-9  Chicago.  Irlinon 


Adhesive  Title  Letters 

REMOVABLE    AND  REUSABLE 

13/16"  Gothic  (240 

letters)   S2.S0 

1"  Exotic  (240  lettersi-S3.SO 
NO-HALO  FILM— WESTON  12 
100  ft.  Dble.  Smm  (2O0 

ft.  Smm)  Bulk  SI. 35 

100-ft.  16mm,  bulk  SI. 25 

100-ft.  16mm  Da-Light 

Leader,  bulk  $1.35 

ACCURATE  CINEMA  SERVICE 
LABORATORY 

2609  Morse  Ave.     Chicago,  III. 


those  of  our  own  sons  and  daughters' 
through  school,  Sunday  school,  Cub 
Scouts,  Girl  Reserves,  and  kindred  ac- 
tivities. As  we  film  subjects  of  this 
kind,  our  movie  making  skill  increases 
and  there  comes  a  realization  that  our 
movie  hobby  is  filling  a  useful  purpose. 

If  there  is  no  competent  or  experi- 
enced cameraman  available  or  willing 
to  give  the  time  and  service  to  clubs  or 
organizations,  the  beginning  amateur 
has  a  valuable  opportunity  to  improve 
his  own  skill  and  at  the  same  time  be 
of  aid  to  a  social  unit  of  which  he  may 
be  a  part.  For  instance,  the  manner  of 
staging  a  day  camp  can  be  made  clear 
to  a  large  number  of  earnest  Cub 
Scout  workers  through  filming  such  a 
camp  in  action.  Timidity  or  modestry 
should  not  deter  the  beginner  from  at- 
tempting such  a  task.  Just  shoot,  and 
the  eyes  of  the  potential  audience  will 
not  be  too  critical. 

Vast  personal  satisfaction  is  afforded 
in  this  use  of  the  camera  hobby.  In  the 
first  place,  the  picture  will  produce  re- 
sults. Xo  amount  of  cut-and-dried  lec- 
turing can  get  over  the  "togetherness" 
of  Cub  Scouting  as  forcefully  as  a  cine 


fan's  movie  of,  perhaps,  two  tallow- 
haired  Cubs  reaching  together  for  the 
high  notes  in  the  opening  of  a  song.  \o 
one  has  to  diagram  the  spiritual  fulfil- 
ment of  a  scene  that  tugs  at  the  heart- 
strings— a  shot  of  a  son  as  he  snaps  to 
attention  with  his  brother  Cubs  in  a 
last  salute  to  the  Flag.  This  is  but  an 
inkling  of  the  satisfaction  that  comes 
to  the  movie  amateur  whose  circle  of 
filming  activity'  extends  beyond  the  do- 
ings of  his  immediate  family. 

Nor  is  that  all.  Naturally  in  the 
making  of  this  t>pe  of  movie,  our  skill 
is  going  to  increase.  Our  reels  will  pro- 
gress from  "bad"  to  "not-so-bad,"  and 
ultimately  to  the  "excellent"  class.  And 
there  is  certain  to  come  a  day  when 
some  group  will  seek  us  out  to  do  the 
photography  on  a  project  picture  for 
which  they  will  furnish  the  film. 

When  confronted  with  such  a  pro- 
position, some  amateurs  may  shy  away 
with  the  feeling  that  it  wouldnt'  be  fair 
to  attempt  a  venture  in  which  they 
might  spoil  a  lot  of  film.  That  feeling 
is  usually  unjustified  by  results.  The 
group,  of  course,  should  be  told  frank- 
ly that  the  amateur  is  a  beginner  but 
thev  should  also  understand  his  usual 


HOME  MOVIES  FOR  FEBRUARY 


PACE  77 


batting  average  is  to  produce  a  finished 
reel  of  the  length  they  want. 

After  a  complete  understanding  has 
been  reached  between  both  parties,  the 
amateur  wades  into  his  assignment  only 
to  find  that  he  is  not  spoiling  film.  The 
challenge  of  working  with  material 
bought  by  somebody  else  makes  for 
careful  planning  and  he  just  doesn't 
take  any  pictures  without  exercising 
painstaking  care  with  all  factors  that 
make  for  good  films. 

In  order  to  come  out  even  with  the 
film,  the  cine  fan  will  find  advance 
planning  essential.  That  eventually 
leads  to  script  writing;  working  out  in 
advance  what  is  to  be  filmed  when  and 
where ;  and  how  many  feet  of  film  will 
be  required  for  each  sequence. 

Then,  almost  inevitably,  the  picture 
assignment  leads  the  filmer  to  recog- 
nize the  value  of  a  running  comment  to 
enhance  the  story.  Out  of  this  realiza- 
tion comes  experimentation  and  success 
in  making  synchronized  recordings  to 
give  the  production  a  Hollywood  polish. 

Although  it  may  sound  difficult  to 
the  beginner,  one  step  leads  to  another 
so  easily  and  logically  that  the  making 
of  home  movies  becomes  a  type  of  hob- 
by relaxation  within  easy  reach  of  every 
individual.  In  the  days  ahead,  such  an 
absorbing  hobby  will  be  of  untold  value 
in  keeping  personal  morale  on  keel. 

I  am  not  talking  from  the  heights  of 
long  years  of  experience  with  amateur 
movies.  Five  years  ago  my  camera  was 


shining  new  at  the  Christmas  season. 
Yet  in  those  five  years  it  has  been  put 
through  some  exciting  paces.  Besides 
numerous  neighborhood  films,  there 
have  been  Cub  Scout  films,  a  sequence 
for  an  act  in  the  Varsity  Revue  when 
a  neighbor  boy  appealed  for  help  and 
numerous  small  reels.  When  members 
of  an  organization  to  which  I  belonged 
were  seeking  ways  to  make  money,  I 
filmed  their  children  in  the  story  of 
Cinderella.  Another  member  told  the 
story  in  poetry  and  through  a  recording 
we  made  it  a  "sound"  movie. 

I  made  shots  of  Willkie's  Phoenix 
appearance,  which  I  sandwiched  into  a 
general  Western  American  travel  reel 
already  completed,  and  showed  it  in 
each  of  the  Spanish  American  precincts 
in  Tucson  during  the  last  presidential 
election  campaign.  The  political  results 
were,  of  course,  sour- — but  the  personal 
ones  were  not. 

Each  summer  for  the  past  three  years 
I  have  done  the  photography  and  edit- 
ing on  a  400-foot  of  Kodachrome  film 
recording  some  phase  of  rushing  activi- 
ties for  the  Theta  Upsilon  chapter  of 
Delta  Delta  Delta  sorority  at  Univer- 
sity of  Tulsa. 

And  if  anybody  had  predicted,  five 
years  ago,  the  fun  and  creative  satisfac- 
tion that  was  to  come  to  me  through 
use  of  my  movie  camera,  I  wouldn't 
have  believed  it. 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME  MOV- 
IES select  the  best  picture  sent  in  for  ana- 
lysis and  designate  it  "The  Movie  of  the 
Month."  This  movie  is  given  a  detailed  re- 
view and  a  special  leader  is  awarded  the 
maker. 

This  award  does  not  affect  the  eligibility 
of  such  films  for  entry  in  the  annual  HOME 
MOVIES  CONTEST.  They  are  automatically 
entered  for  rejudging  with  those  films  sub- 
mitted especially  for  the  annual  contest. 
Films  awarded  the  honor  of  MOVIE  OF 
THE  MONTH  during  the  past  12  months 
are : 

1941 

MARCH:  "Home  Town,"  produced  by 
V^est  W.  Champion,  Fresno,  Calif.  A  16mm 
picture,  1600  feet  in  length. 

APRIL:  "Fledglings,"  produced  by  Dudley 
Porter,  Beverly  Hills,  Calif.  An  8mm  Koda- 
chrome picture,  150  feet  in  length. 

MAY:  "A  Pain  in  the  Night,"  produced 
by  Rev.  Raymond  G.  Heisel,  Elmira,  N.  Y. 
An  8mm  Kodachrome  picture,  125  feet  in 
length. 

JUNE:  "Tropical  Ecstasy,"  produced  by 
Dr.  Roy  L.  Cerstenkorn,  Beverly  Hills,  Calif. 
A  t6mm  Kodachrome  production,  350  feet 
in  length. 


JULY:  "V^ithin  These  Hills,"  produced 
by  J.  Glenn  Mitchell,  Joplin,  Missouri.  A 
16mm  Kodachrome  picture,  800  feet  in 
length,  with  sound  on  disc  recording. 

AUGUST:  "Dedication,"  produced  by 
Alex  W.  Morgan,  Toledo,  Ohio.  An  8mm 
Kodachrome  picture,  400  feet  in  length. 

SEPTEMBER:  "Through  the  Vv'indcw 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland,  Ohio.  A  16mm  Kodachrome  pic- 
ture, .400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories,"  pro- 
duced by  J.  0.  McCracken,  Clendale,  Calif. 
An  8mm  Kodachrome  picture,  300  feet  in 
length. 

DECEMBER:  "Do  It  Again,  Harry,"  pro- 
duced by  Herman  Bartel,  New  Rochelle, 
New  York.  A  16mm  Kodachrome  picture, 
800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced  by 
Leo  Caloia,  Los  Angeles,  Calif.  A  16mm 
picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite  Tells," 
produced  by  George  L.  Rankin,  San  Fran- 
cisco, Calif.  A  16mm  Kodachrome  picture, 
400  feet  in  length. 


"HA!  HA!  HA! 

I  SPOIL  YOUR  PICTURES 

I'M  GLARE  LIGHT" 


NOTHING  CAN  STOP  ME  EXCEPT.. 


MARKS 

POLARIZATION 

PLATES 


Don't  blame  film  or  camera  when  these  two 
photographic  evils  ore  present.  (They  usually 
are).  For  when  they  obscure  vision,  destroy 
detail  and  dilute  color  you  don't  stand  a 
chance  to  shoot  a  gooc^  picture.  Don't  waste 
another  shot.  Go  to  your  dealer.  Learn  how 
to  reduce  or  eliminate  these 
evils  with 
TION  PLATES  - 
method  to 
out  co/or  abs 

pie.  It's  economical.  Write  for  Glare  Light 
comprehensive  folder.  Controlled 


ot.  Go  to  your  dealer.  Learn  he 
or  eliminate  these       ^ ' 
MARKS  POLARIZA-     f  ,\ 

^TES  -  the  only  I  V  ) 
light  control  with-      V  ^  J 

absorption.  It's  sim- 


com 


KIN  -  O  -  LUX,  INC. 

105  W.  40  ST.  .NEW  YORK  CITY 


Get  Better  SPLICES  with  the  new 
a  SEEMANN! 

New  improved  desifn 
— made  of  heavy  gauge 
plated  metal,  mounted 
on  hardwood  base.  An. 
chored  cement  bottle. 
Accurate  .  .  .  Efficientl 
For  8  or  IGmm. 
A    LASTING  GIFTl 

At  All  Dealers! 

WHOLESALE  PHOTO  SUPPLY  CO. 

6628  Santa  Monica  Blvd.,  Dept.  H-2,  Hollywood,  Cal. 


Make  just  scratched,  curled  or  dirty 

dandy  gifts'  °''  prints— and  they're  easy 

■  to  file  and  find.  Look  like  books 
(SVs  X  7").  Blue,  green,  red  or  black. 
SLIDE  FILE  holds  300  slides 

2x2"  $1.00 

NEGATIVE  FILES.  3  styles,  35 
mm  (strips  or  rolls)  to  5x7"  $1.00 
PRINT  ALBUM.  Loose  leaf  5 x  7". 
Acetate  covered  mounts..  .  $1.7S 

Also  larger  sizes. 
MOVIE  REEL  FILES  Sand 

16  mm  $1.50  and  $1.95 

A  t  stores  or  sent  direct  prepaid 
on  lU  Days  Moncy-Biick  Trial. 
Write  for  folder  showing  complete  line 


AMBERG  FILE  &  INDEX  CO. 


PB  MOVIE  KIT  for  COLORFILM 

$4.75  COMPLETE 

1  PB  Lens  Shade  and  Filter  Holder. 
1  PB  Haze  Filter  (for  Kodachrome). 
1  PB  Conversion  Filter  (for  converting  Type  A  to 

daylight). 
1  PB  FUter  Pouch. 

For  All  Standard  Makes  of  Smm's 
PONDER  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles,  Calif. 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BERNDT-MAURER  RECORDER 
CEO.  W.  COLBURN  LABORATORY 
1197-A  Merchandise  Mart  CHICAGO 


PACE  78 


HOME  MOVIES  FOR  FEBRUARY 


TITLES 


They  make  those  home  movies  of 
yours  a  finished  product.  Follow 
•your  hobby  fully  .  .  .  have  the  fun 
of   completed   production   by  using 

MITTENS  TITLE  LETTERS 

Pin  Letter  Sets  Priced  $5.50  up 
Sanded  Back  Letter  Sets  $4.75  up 

On  sale  at  all  leading  camera  stores. 
Ask  for  illustrated  literature  or 
write  direct. 


MITTEKS  LETTER  COMPANY 


REDLANDS 


CALIFORNIA 


WLt  i 


liouid  L 


•  Continued  from  Page  58 

Short  focal  length  lenses  are  not  rec- 
ommended for  taking  extreme  or  "ul- 
tra" closeup  shots,  inasmuch  as  the 
sharper  perspective  has  a  tendency  to 
distort  the  image.  Used  in  making 
titles,  wide  angle  lenses  can  be  em- 
ployed successfully  in  making  "zoom" 
shots  without  the  necessity  of  running 
the  camera  so  far  up  the  track  of  the 
titling  outfit,  as  would  be  required  with 
use  of  a  standard  lens.  This  is  because 
the  title  would  enlarge  more  rapidly  or 
at  a  greater  ratio  for  every  inch  the 
camera  moved  away  from  or  toward  the 
title  card.  Still  another  interesting  fea- 
ture is  the  fact  a  wide  angle  lens  will, 
because  of  the  sharper  perspective  ob- 
tained, produce  a  deeper  three  dimen- 
sional effect  in  block  titling  letters. 

Otherwise,  the  wide  angle  lens  gives 
the  efifect  secured  by  making  the  pic- 
ture with  a  regular  lens  at  a  greater 
distance  from  the  subject,  but  with 
somewhat  different  perspective. 

Lenses  of  long  focal  length,  i.e., 
those  classified  as  telephotos,  aid  our 
camera  just  as  we  aid  our  eyes  in  using 
field  glasses  or  binoculars  —  they  give 
the  effect  of  having  made  the  shot  from 
a  point  much  nearer  the  subject.  Angle 
of  field  is  narrowed  and  less  of  the  sub- 
ject is  included,  but  detail  is  larger. 
The  greater  the  focal  length  of  a  tele- 
photo  lens,  the  greater  the  magnifica- 
tion of  the  picture.  Therefore,  the  far- 
ther an  object  is  from  the  camera,  or 
the  smaller  it  is,  the  greater  the  focal 
length  of  the  telephoto  lens  required  to 
bring  that  object  to  full  size  on  the 
screen. 


Telephotos  are  useful  in  filming  such 
subjects  as  wild  life,  inaccessible  detail 
in  architecture,  and  sports  events — sub- 
jects which  cannot  be  approached  close 
enough  to  film  with  a  regular  lens. 

With  the  very  long  focal  length  tele- 
photo  lenses,  such  as  the  6  inch  (16 
mm.)  or  3  inch  (8  mm.)  the  shorten- 
ing up  of  an  object  such  as  an  auto- 
mobile going  away  from  or  towards  the 
camera  is  so  great  as  to  be  quite  notice- 
able. Therefore  it  is  best  not  to  use  a 
longer  focal  length  telephoto  lens  than 
is  necessary.  The  popular  size  is  3  inch 
(16  mm.)  or  \  inch  (8  mm.),  as  this 
size  gives  a  good  degree  of  magnifica- 
tion without  making  the  perspective  of 
the  picture  unduly  inaccurate. 

A  tripod  or  solid  support  should  al- 
ways be  used  with  a  telephoto  lens,  as 
any  movement  of  the  camera  is  magni- 
fied on  the  screen,  just  as  the  subject 
itself  is  magnified. 


nou/  . 


There  are  other  purposes,  too,  for 
which  a  telephoto  may  be  used.  In  a 
garden  scene,  flowers  in  the  background 
will  appear  larger  than  usual  and  thus 
provide  an  interesting  setting  for  a 
figure  in  the  foreground,  since  the  per- 
spective of  this  lens  is  not  so  sharp  as 
with  shorter  focal  length  lenses. 

The  telephoto  is  also  useful  in  per- 
mitting the  taking  of  a  close-up  imme- 
diately after  a  medium  shot,  all  without 
moving  the  camera  or  subject  position. 
This  is  particularly  elTective  and  simple 
when  the  camera  is  equipped  with  a 
lens  turret,  which  permits  quick  change 
of  lenses. 

A  telephoto  lens  tends  to  make  ob- 
jects appear  closer  together  than  does  a 
standard  lens,  providing  the  objects  are 
grouped  and  not  strung  across  the  pic- 
ture scene.  This  may  be  studied  to  ad- 
vantage by  making  a  shot  of  a  street 
lined  with  telephone  poles.  The  poles 
will  appear  relatively  close  together, 
compared  to  the  way  they  would  ap- 
pear if  photographed  with  a  standard 
or  wide  angle  lens.  This  is  interesting 
because  there  are  times  when  this  ef- 
fect can  prove  useful. 

While  a  telephoto  lens  is  a  valuable 
item  of  equipment,  great  care  must  be 
e.xercised  in  their  purchase  to  insure 
getting  one  of  good  quality.  Compared 
to  the  average  one-inch  or  wide  angle 
lens,  it  is  said  there  is  a  greater  tend- 
ency for  telephotos  to  be  inherently  shy 
on  reproduction  quality. 

Next  month  the  third,  article  of  this 
series  will  dwell  on  the  subjects  of  film 
and  splicing. 


•  Continued  from  Page  63 

cal  film  ratings  can  be  published — accu- 
rate because  the  tests  are  performed 
under  measurable  conditions  with  scien- 
tific equipment  and  by  experienced  men. 

These  tests  on  motion  picture  films 
are  repeated  about  three  times  a  year 
for  each  film  to  make  sure  that  the  speed 
of  the  film  is  not  changing.  A  further 
check  is  made  by  purchasing  films  from 
dealer  stocks  all  over  the  country.  These 
films  are  sent  to  the  laboratory  and  sen- 
sitometric  tests  performed  on  each  one. 
This  enables  Weston  to  determine  the 
influences  of  age  and  geographical  loca- 
tion on  film  speeds. 

Next  to  the  studio,  we  find  several 


•  flRRRRRRRBBBCCCCCDODD 
i  OEEEEEEEEEEFFFFGGGGHHHH 

'■  iiiiniiijjjK«KLiLLLfnfninfnn 
nnnnnnnoooooopppppDOR 
Irrrrrrrssssssssttttttt 

TUUUUfHliiliilUXXVVVZZS? 
II22334455BB7788990Q:'/ 


HOME  MOVIES  FOR  FEBRUARY 


PACE  79 


dark  rooms.  Provision  is  made  for  both 
the  exposure  and  development  of  still 
films  under  constant  conditions.  Let  us 
examine  the  exposure  room  first.  The 
main  object  which  attracts  our  eye  is  a 
large,  peculiarly  shaped  black  box  called 
an  intensity  scale  sensitometer.  This  in- 
strument duplicates  almost  exactly  the 
action  of  film  in  a  camera.  The  sensi- 
tized material  is  exposed  for  l/20th  of 
a  second  in  contact  with  a  very  care- 
fully calibrated  gray  wedge.  This  ex- 
posure is  very  carefully  controlled  by 
use  of  synchronous  motor,  so  that  its 
actual  value  is  known  to  several  deci- 
mal places.  The  intensity  of  the  light  is 
measured  by  means  of  electrical  instru- 
ments and  its  color  by  means  of  suitable 
filters — one  set  to  simulate  daylight  and 
the  other,  tungsten  or  photoflood. 

After  three  samples  of  a  given  film 
are  exposed  on  this  sensitometer,  they 
are  developed  one  after  another  in  the 
developer  recommended  by  the  manufac- 
turer. The  developing  machine  is  a  very 
ingenious  device  providing  agitation  in 
all  three  dimensions.  Its  action  is  ex- 
actly the  same  each  time  it  is  used,  and 
hence  the  error  which  might  be  intro- 
duced through  agitation  technique  is 
eliminated.  The  actual  device  is  a  ther- 
mos-like bottle  into  which  the  film  is 
placed  on  a  hanger  and  then,  by  merely 
pressing  a  button,  the  bottle  is  rotated 
and  moved  up  and  down  in  the  hori- 
zontal plane. 

Needless  to  say,  the  temperature  at 
which  the  developing  bath  is  operated, 
is  very  carefully  controlled.  As  a  matter 
of  fact  it  is  within  a  fraction  of  a  de- 


•  All  amateurs,  whether  subscribers  to 
HOME  MOVIES  or  not,  are  invited  to 
submit  their  films  to  the  editors  for  re- 
view and  helpful  criticism.  Unless  other- 
wise requested,  reviews  of  some  of  the 
films  which  we  believe  would  benefit 
other  amateurs  will  be  published  each 
month. 

Reviewed  films  will  be  rated  one,  two, 
three,  and  four  stars,  and  films  qualify- 
ing for  two  or  more  stars  will  receive, 
free,  an  animated  leader  indicative  of 
such  award.  Detailed  reviews,  with  sug- 
gestions for  improvement — if  any — will 
be  mailed  to  amateurs  submitting  their 
films. 

Exceptional  films  qualifying  for  the 
distinction  of  the  "Movie  of  the  Month" 
will  be  treated  in  detail  in  a  feature- 
length  article  in  a  following  issue  of 
HOME  MOVIES.  In  addition,  a  certifi- 
cate evidencing  the  award  of  "Movie  of 
the  Month"  and  a  special  animated 
"Movie  of  the  Month"  leader  will  be 
returned  with  such  films  after  review. 

When  submitting  films  for  review  or 
analysis,  please  advise  make  of  camera, 
speed  of  lens,  whether  or  not  tripod  was 
used,  or  if  you  used  filters,  exposure 
meter,  or  other  accessories.  While  this 
information  is  not  essential  to  obtain 
analysis  of  your  film,  we  would  like  to 
pass  it  on  for  the  benefit  of  other  ama- 
teurs. 


gree  of  20°  C.  The  three  samples  arc 
developed  for  different  lengths  of  time 
in  order  to  provide  three  different 
"gammas,"  or  degrees  of  contrast. 

It  is  a  well  known  fact  that  excessive 
use  of  a  fixing  bath  will  tend  to  bleach 
a  film  or  print.  Therefore,  the  length  of 
time  the  films  are  allowed  to  stay  in  the 
fixing  bath  is  very  carefully  watched. 
After  washing  for  a  standard  length  of 
time  in  a  wash  water  at  20°  C,  the 
films  are  hung  up  to  dry  in  a  dust  free, 
air  conditioned  room.  Each  step  of  the 
gray  wedge  to  which  the  films  are  ex- 
posed provides  a  corresponding  step  on 
the  film  sample.  Therefore,  the  new 
gray  wedge  which  was  the  initial  sample 
of  the  film  is  measured  by  means  of  a 
transmission  densitometer.  This  instru- 
ment measures  the  ability  of  a  negative 
to  let  light  pass  through  it. 

Since  the  exposure  can  easily  be  de- 
termined by  knowing  the  density  values 
for  the  initial  calibrated  wedge,  and  the 
intensity  and  exposure  time  of  the  ex- 
posing light,  two  values  for  each  step  in 
the  gray  wedge  are  calculated ;  one,  the 
exposure  in  terms  of  meter-candle-sec- 
onds, and  the  other,  the  density  of  the 
negative  in  density  units.  From  this  in- 
formation a  curve  is  plotted  showing  the 
characteristics  of  that  particular  film. 
This  is  called  the  H  &  D  curve.  Curves 
are  plotted  of  all  three  samples  of  the 
film,  and  the  result  is  a  family  of  curves 
showing  a  given  film  developed  to  dif- 
ferent degrees  of  contrast.  From  these 
characteristic  curves  and  through  the 
use  of  mathematics,  Weston  engineers 
are  able  to  obtain  their  first  value  for 
the  film  rating.  This  test  is  repeated  sev- 
eral times  to  be  absolutely  sure  of  the 
results  and  naturally  is  carried  through 
for  most  daylight  and  tungsten  light 
qualities. 

Since  film  ratings  are  standards,  the 
equipment,  chemicals  and  procedures 
must  be  very  carefully  controlled.  All 
the  dark  rooms  are  air  conditioned  so 
that  the  humidity  and  temperature  are 
always  the  same.  Even  the  electricity 
needed  for  the  operation  of  the  densi- 
tometer and  sensitometer  is  very  care- 
fully measured  so  that  there  will  be  a 
check  on  variations  due  to  line  fluctua- 
tion. 

From  our  hosts,  the  Weston  engi- 
neers, we  learn  a  number  of  interesting 
things  about  film  speeds.  We  are  in- 
formed that  a  number  of  variables  enter 
into  the  speed  of  film.  The  principal 
one  is  developing  technique.  If  develop- 
ers other  than  the  ones  recommended  by 
the  film  manufacturer  are  used,  or  the 
films  are  developed  for  a  shorter  or 
longer  length  of  time  than  recommend- 
ed, the  rating  will  be  different  from 
that  listed.  Since  many  photographers 
have  their  own  pet  developers  and  their 
own  methods  of  using  them,  Weston 
ratings  for  still  films  are  published  in 


THROUGH  YOUR 


\ 


DEALER 


COLOR  FILMS 

and  color-layer  dis- 
tortions need  deep- 
seated  chemical 
protection  that  sur- 
face lacquers  and 
lubricants  cannot 
provide. 


All  dealers  can  provide 
effective,  economical 
VapOrate  film  protec- 
tion against  damage 
from  climate,  wear, 
scratches,  stains  and 
finger  marks.  Progres- 
sive dealers  are  just  as 
eager  to  sell  you  low 
priced  services  that 
better  your  results  as 
high  priced  gadgets 
that  boost  their  profits. 


ApjTyRATE 

Belter  Photo  Finishers  Offer  VapOrate 
Protection  for  Still  Negatives 


VAPORATE  CO.,  Inc. 
130  W.  46th  St. 
New   York  City 


BELL  &  HOWELL  CO. 

1801  Larchmont,  Chicago 
716N.LaBrea, Hollywood 


New  Harrison  Duraline 
MOVIE  FILTERS  and  KITS 


Snappy  new  SCnSEW-rN  TYPE  MOUNTED  FIL.TEE3 
to  fit  all  Sinin.  cameras  having  Wollensak  1.9  and 
3.5  lenses,  including  Keystone.  Bell  &  Howell.  Perfei 
and  Revere.  Single  Alters  .  $2.30  each — Kits,  contain- 
ing Kndachrome  Haze  and  C4  Kodachrome  Conver- 
sion Filter.  Snap-on  Sliade.  tilter  told  as  above  $5.50. 
AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
8351  Santa  Monica  Boulevard     Hollywood.  California 


The  Price  is  Soon  Forgotten 
But  the  Quality  NEVER 

QUALITY  OUTDOOR 

WESTON  -12  $050 

Per  100  Feet  16mm  

No.  1  Pan — Weston-16-12...$3.75 
No.  2  Pan— Weston-32-20....  4.00 
No.  3  Pan — Wcston-80-40  ...  4.50 
PROCESSING  INCLUDED 

OWEN  LABORATORY 

2819  E.  ANAHEIM  ST.    LONG  BEACH.  CALIF. 


Distinctive  TITLES 
and  expert  EDITING 

For  the  Amateur  and  Professional 
l6mni  —  8mm 
Black  &  White,  Tinted  and  Kodachrome 
Write  for  our  new  illustrated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N.  Y. 


WINDBACKS 


FRAME- 
COUNTING 

Guaranteed  accurate.    Expertly  engineered  and 
installed.   Money-back  guarantee. 
Keystone  .  .  .  $17.45    •    Fllmo  .  .  .  $23.50 
Eastman  .  .  .  $23.50 
Precision  Built  Accessories  f  or  Every  Seed 
Write  Us  Your  Requirements 
CUSTOM    BUILT   CAMERA   ACCESSORIES  CO. 
5712  Cedar  Springs  •  Dallas,  Texas 


PACE  80 


HOME  MOVIES  FOR  FEBRUARY 


There's  a 
Coupon  at 
the  Bottom 

oi  this  column  that  will  bring  you 
added  enjoyment  in  youi  movie  mak- 
ing hobby.  It's  youi  bid  to  join  a 
grand  organization  of  movie  amateurs, 
.  .  .  THE  REEL  FELLOWS 

All  sorts  of  advantages  immedialely 
become  available  to  aid  you  on  your 
glorious  trip  to  more  iun,  friends, 
knov/ledge,  economy,  prestige  and 
standing  in  the  ranks  of  non-profes- 
sional movie  makers — when  you  join 
.  .  .  THE  REEL  FEUOWS 

First  you  sign  the  coupon  below 
and  send  it  in  to  headquarters  with 
one  dollar.  It  is  just  as  simple  as  that. 
You  then  receive  a  gold  pin,  the  em- 
blem of  the  organization  which  intro- 
duces you  to  every  other  member  on 
sight.  Also  an  insignia  for  your  cam- 
era which  labels  your  equipment. 
Your  membership  cord  completes  the 
credential  package  you  receive  just 
as  soon  as  your  apphcaticn  has  been 
received  by 

.  .  .  THE  REEL  FEUOWS 

Yes,  if  you  own  a  camera  and  have 
the  slightest  spark  of  enthusiasm  in 
your  blood,  you  owe  it  to  yourself  to 
join  today.  Then  watch  that  spoik 
explode  and  free  those  pent-up  emo- 
tions of  yours — to  go  places  and  do 
things — shooting  for  "The  Movie  of  the 
Month"  and  the  many  other  av/ards 
available  to  all  members  c: 

.  .  .  THE  REEL  FEUOWS 


THE  REEL  FELLOWS 
c/o  Home  Movies,  6060  Sunset  Blvd., 
Hollywood,  Ccditomia. 

I  am  enclosing  one  dollar  (SI)  member- 
ship fee,  ior  which  please  enroll  me  as  a 
member  of  The  Reel  Fellows  and  send 
me  my  membership  card,  camera  insig- 
nia, and  gold  emblem  pin.   I  have  been 


shooting  movies  (length  of  time)  

My  equipment  is  8mm  16mm.. 

Name  


Address  . 
City  


...State.. 


Use 


Why  Pay  More? 


TL  THRIFTY  ORTHATYPE.  for  outdoct 

I  hritty      shooting  non-halation,  fine  ,c 

,^  grain  per  l(X)-ft.  roil   ^2" 

lomm.        Compare  to  any  film  up  to  twict 

F.,  the  cost. 

Ilm  Zi  'z"  i  E-.ers  '^cl^de  Sa'es  Ta/ 

TunicTV  cii  I  ic  Drawer  98,  Watts  Station 
THRIFTY  FILMS      Los  Angeles,  Calif. 


group  numbers  showing  the  speed  range 
through  which  a  film  can  be  used.  For 
example,  a  group  number  of  100  would 
mean  that  the  film  could  be  used  at 
80,  100,  and  125  depending  upon  the 
photographer's  own  technique. 

Motion  picture  films  have  but  a  single 
speed  and  no  group  number  because  the 
usual  amateur  16  mm.  and  8  mm.  films 
have  their  development  controlled  by 
the  manufacturers.  Therefore,  the  vari- 
ables of  processing  are  not  present.  The 
possible  exception  to  this,  we  learn,  is 
positive  film  when  used  for  home  re- 
versal. The  Weston  engineers  rate  all 
standard  positive  16  mm.  stock  at  10 
daylight.  2.5  tungsten  when  the  film  is 
processed  in  D  11  developer  and  used 
for  titles.  When  it  is  reversed,  the  rat- 
ing will  change  and  the  movie  maker 
will  have  to  determine  his  own  speed  by 


testing  the  film  at  several  speeds  using 
10  daylight -2. 5  tungsten  as  a  starting 
point. 

Weston's  engineers  also  have  a  word 
or  two  to  say  about  the  fancy  fine-grain 
developers.  Instead  of  increasing  the 
speed  as  is  often  claimed,  these  solu- 
tions usually  reduce  film  speed  to  ^  or 
Yj^  of  the  full  rating.  We  are  most  earn- 
estly assured  that  the  age  of  miracles  is 
past — there  is  no  such  thing  as  a  fine- 
grain  developer  which  increases  film 
speeds ! 

In  this  hasty  trip  through  the  Weston 
sensitometric  laboratory-,  we  saw  a  lot 
of  scientific  equipment,  and  the  evi- 
dences of  much  labor  and  research.  The 
results  are  accurate,  reliable  film  rat- 
ings that  can  be  and  are  depended  upon 
by  every  one  in  the  photographic  world 
from  the  beginners  to  the  professionals. 


Wkat  to 


•  Continued  from  Page  62 

ditions  to  come  away  with  sharp  nega- 
tives, brilliant  of  tone. 

As  for  material  to  gladden  the  heart 
of  any  cinebug.  it  is  unlimited  in  New 
Mexico.  It  has  been  said  that  the 
same  subject  may  be  shot  at  diflerent 
times  of  the  day.  and  that  no  two  of 
the  films  will  be  the  same.  The  qual- 
ity of  lights  and  shadows  changes 
hourly. 

New  Mexico  offers  the  movie  ama- 
teur one  National  Park,  described  by 
Robert  L.  Ripley  as  the  "world's  great- 
est wonder";  eight  national  monu- 
ments, seven  national  forests,  five 
state  parks,  eight  state  monuments, 
eighteen  living  Indian  Pueblos,  four 
Indian  reservations,  and  countless 
other  points  of  interest,  any  of  which 
are  interesting  photographic  subjects. 

Carlsbad  Caverns  National  Park,  to 
which  "Believe  It  or  Not"  Ripley  re- 
ferred, is  a  series  of  great  underground 
caves.  Thirty-seven  miles  of  the  cav- 
erns have  been  explored,  yet  no  man 
knows  how  far  they  extend  under  the 
Guadalupe  Mountains. 

Geologists  estimate  that  many  of  the 
strange  formations  seen  on  the  seven- 
mile  trip,  750  feet  under  the  surface 
of  the  earth,  were  sixty-  million  years 
in  the  making.  Words  cannot  hope  to 
describe  the  silent  vastness  and  ethereal 
beauty  of  the  caverns,  but  here  is  para- 
dise for  the  camera  fan.  A  picture  series 
of  Carlsbad  Caverns  will  keep  alive 
treasured  memories  of  an  unforget- 
table experience.  All  photography 
here  requires  artificial  light,  and  in 
instances  where  special  lighting  equip- 
ment is  required,  permission  must  be 
obtained  from  the  park  superintendent. 

Within  200  miles  of  the  caverns  lies 


the  Great  White  Sands,  a  national 
monument.  Here  is  one  of  nature's 
strangest  phenomena  —  even  in  New- 
Mexico,  land  of  the  strange  and  un- 
usual. The  White  Sands  are  almost 
one  hundred  percent  pure  gypsum,  a 
thirty-mile  desert  white  as  snow. 

The  scant  vegetation  at  the  edges 
of  the  White  Sands  disappears  on  the 
interior,  leaving  an  area  as  devoid  of 
life  as  the  Sahara  itself.  Even  the 
field  mouse  wears  a  coat  as  white  as 
ermine,  and  insects  are  of  lighter  hue. 
But  rainfall  produces  strange  lakes, 
sometimes  crimson  red. 

The  prevailing  southwesterly  wind 
has  piled  the  sands  into  great  dunes 
ranging  from  10  to  60  feet  in  height. 
This  gargantuan  sandpile  covers  some 
176,000  acres,  and  the  National  Park 
Service  gives  this  tip  to  cinefilmers : 
"Your  movies  will  be  better  if  you  ar- 
range to  show  the  shadows,  otherwise 
there  will  be  little  contrast."  Sun- 
down is  the  ideal  time  of  day  to  "shoot" 
the  dunes. 

Among  the  other  interesting  Nation- 
al Monuments  in  New  Mexico  are 
Aztec  Ruins.  Bandelier,  Chaco  Canyon. 
Gila  Clift  Dwellings — all  of  these  be- 
ing remnants  of  a  pre-historic  civiliza- 
tion believed  to  have  reached  its  height 
between  900  and  1100  A.  D.  With  the 
exception  of  the  Gila,  these  National 
Monuments  are  accessible  by  car  over 
good  highways. 

Some  of  these  ruins  are  in  an  excel- 
lent state  of  preserv  ation  and  excava- 
tion has  restored  them  to  at  least  the 
outline  of  their  former  glory.  To  the 
photographer  who  has  a  leaning  toward 
archaeology,  they  ofter  an  opportunity 
to  make  a  first-hand  study  and  to  come 


HOME  MOVIES  FOR  FEBRUARY 


PACE  81 


away  with  a  permanent  movie  record  of 
an  Indian  civilization  unparalelled  in 
the  annals  of  history  in  North  America. 

If  the  movie  fan  would  combine  pho- 
tographic research  with  pleasure,  the 
Gila  Cliff  Dwellings  offer  a  pack  trip 
into  the  Gila  Wilderness  Area,  where 
an  unrivalled  panorama  of  virgin  scen- 
ery unfolds  in  one  of  the  largest  "wild" 
regions  in  the  country. 

In  the  sandstone  cliffs  of  El  Morro 
National  Monument  in  western  New 
Mexico  are  inscribed  the  records  of  the 
early  intrepid  Spanish  explorers.  The 
earliest  inscription  is  dated  1605,  and 
the  latest  1774.  Hundreds  of  other 
equally  interesting  carvings  commem- 
orate visits  of  explorers,  emigrants,  and 
other  historical  figures. 

But  El  Morro,  popularly  known  as 
Inscription  Rock,  was  not  only  a  haven 
for  the  early  Spaniards.  On  the  top  of 
this  fortress-like  rock  are  the  ruins  of 
ancient  pueblos,  built  about  1400  A.  D. 
El  Morro  alone  could  provide  a  vaca- 
tion full  of  interest  for  the  movie  ama- 
teur. 

Capulin  Mountain  is  a  recently  ex- 
tinct volcano  cone,  almost  perfect  in 
symmetry.  The  cone  rears  up  1,500  feet 
from  a  base  about  1^  miles  in  diame- 
ter. From  the  top  the  photographer 
may  "shoot"  into  five  states — Oklaho- 
ma, Colorado,  Texas,  Kansas,  New 
Mexico.  Sometimes  Pike's  Peak,  200 
miles  away  is  visible  on  an  extremely 
clear  sky. 

About  the  time  the  Pilgrims  were 
landing  at  Plymouth  Rock,  Spanish  pa- 
dres in  New  Mexico  were  constructing 
Gran  Quivira  Mission  to  serve  the 
great  pueblo  of  the  Piro  Indians,  a  tribe 
now  extinct.  The  small  older  church  is 
now  in  ruinous  condition,  but  the 
"new"  church,  begun  in  1649  and  nev- 
er completely  finished,  still  lifts  its  mas- 
sive walls  to  a  40-foot  height  in  places. 


TAKE  CARE  OF  IT! 

Conservation  of  present  equipment 
owned  by  movie  amateurs  is  in  line 
with  the  Victory  program  of  the 
United  States,  as  every  citizen 
strives  to  cooperate  in  banishing  the 
totalitarian  menace. 

That  cine  fans  may  continue  their 
hobby  in  unabated  enthusiasm  with- 
in the  limits  of  national  defense 
shortages,  manufacturers  and  deal- 
ers join  in  cautioning  utmost  care  in 
the  operation  of  camera  equipment. 

A  periodic  check-up  on  the  cam- 
era and  projector  is  declared  to  be  a 
wise  precaution  for  every  owner.  To 
have  the  mechanism  cleaned,  oiled 
and  inspected  for  possible  danger 
spots  will  often  save  costly  repairs 
later. 


This  is  the  eighth  National  Monument 
in  New  Mexico. 

Historians  have  called  Gran  Quivira 
"The  City  That  Died  of  Fear,"  and 
this  statement  is  essentially  correct.  The 
pueblo  lay  near  the  eastern  extremity 
of  the  territory  of  the  peaceful  farming 
pueblos.  About  1670,  attacks  by  the 
fiercer  plains  and  nomadic  Indian  tribes 
became  so  severe  that  the  priests  were 
forced  to  leave,  never  to  return.  Here 
again  is  an  opportunity  for  the  movie 
photographer  to  spend  an  interesting 
time  to  compile  unusual  shots  of  au- 
thentic historical  record  —  and  scenic 
beauty. 

In  the  eighteen  living  Indian  Pueblos 
in  New  Mexico,  life  flows  along  peace- 
fully, little  changed  from  the  sixteenth 
and  seventeenth  centuries  when  the 
Spaniards  first  came  into  the  South- 
west. The  Pueblos  themselves,  their 
adobe  walls  presenting  an  architectural 
picture  unique  in  our  modern  United 
States,  are  worth  photographic  study. 

But  the  most  spectacular  sight  among 
the  Indians  are  their  dances  and  cere- 
monials. These  strange  rites,  dating  to 
a  pagan  origin  lost  in  antiquity,  are 
presented  as  supplications  to  the  gods 
for  favors.  Some  of  the  ceremonials 
are  secret  in  nature,  but  others  are  open 
to  the  public.  The  cine  photographer 
should  make  arrangements  with  the 
governor  of  the  pueblo  before  taking 
pictures  of  any  kind,  however,  and 
there  is  no  set  charge  for  shooting 
movies  at  the  pueblos  if  permission  is 
granted.  Assessments  may  run  from  $1 
upward,  depending  upon  the  number 
of  Indians  appearing  in  the  scenes,  and 
the  type  of  action  to  be  photographed. 

Among  the  reservation  Indians  are 
the  Mescalero  and  Jicarilla  Apaches, 
the  Southern  Utes  and  the  Navajos. 
The  latter  tribe  is  probably  best  known 
for  its  handicraft,  which  includes  the 
famous  Navajo  rugs  and  hand-fash- 
ioned jewelry  of  silver.  The  Navajo 
hogan  (dwelling)  presents  an  interest- 
ing photographic  subject.  The  scenery 
on  the  Navajo  reservation  is  without 
equal. 

Charges  for  making  movies  and  still 
photos  among  the  Navajos  vary,  de- 
pending upon  the  scene  and  the  indi- 
viduals concerned.  Arrangements  for 
shooting  Navajo  ceremonials  should  be 
made  with  the  medicine  men  and  clan 
leaders.  Permission  may  or  may  not  be 
granted  for  some  ceremonials. 

New  Mexico's  National  Forests  lie 
mostly  in  the  high  mountain  areas.  The 
highest  range  in  the  state  is  the  Sangre 
de  Cristo,  where  the  peaks  soar  to 
13,000  feet  above  sea  level.  Lumbering 
operations,  cool,  clear,  trout  streams, 
dude  ranches,  unexcelled  hunting  and 
fishing  areas — all  of  these  lie  tucked 
away  in  the  confines  of  the  great  tim- 


The  Automatic  Splice  Marker 
and  Brilliant  Viewer 


8  mm. 


16  mm. 


$8.50 

Including 
Excise 
Tax 

The  Baia  Motion  Picture 
Engineering  Co. 

166  Victor  Avenue        Highland  Park,  Mich. 


8mm  MOVIE  TITLES  E«y  *<>  Makei 
at  Low  Cost  ! 
Snappy  titles  will  put  zip  into  your  films.  Get  this 
titler.    Write,  print  or  draw  your  titles  on  a  card, 
and  "shoot."   Easy.    No  fuss  or  bother.    When  ordering 
state  make  of  camera. 

(8nun  only)  Revere.  Bevere  Turret,  Keystone.  B  &  H. 
Eastman  20-25,  Univex.  Easily  worth  $2.50.  This  S 1  69 
month.  ONX.Y   -   I 

BULK  MOVIE  FILM  ^-'Zl  -"""^y  s,^'"-  Tfy"-  Gf' 

double  value  for  vour  film  dol- 
lars. 100  ft.  8-8  $1.95;  100  ft.  Sgl.  8  $1.15;  400  ft. 
16mm,  notched  every  100  ft.  $4.95. 

HOW    TO   DEVELOP   YOUR   OWN    MOVIE  FILM 
It's  easyl  Just  send  25c  for  illustrated  instruction  book, 
complete   with   formulae   and   plans   for   building  your 
own  home  procesBini?  outfit. 

ORDER  DIRECT  FROM  THIS 
rff'^^^^Q^x^  AD  NOW 

iVSl*""  Y>  Q"!'^^  service.  Money  hack  If  not  satlsfled. 

TciiPEfllDfl) 


"^IPSFSUPERIOR  BULK  FILM  CO. 

jpSmjk^  "Home  Proccssfnt  Hcadquart«r»" 


Oept 

i  »2\4 


181  W.  Randolph  St.,  Chicai*,  IM. 


Turret  and  backwind  installations  on  8  and  16mm. 
Lenses,  Binoculars  repaired.  Focusing  mounts. 
MAC  VAN  MFC.  CO. 
3829  El  Cajon  Blvd.  San  Diego,  Calif. 


8mm  FILM  SLITTER 

Slits  16mm  width  film  to  exact  8mm  width.  Die 
cast  body,  hardened  steel  cutting  wheels.  Will 
not  scratch  film.   Precision  built.    Price  $2.50 
At  your  dealers 

RALPH  V.  HAILE  &  ASSOCIATES 
215  WALNUT  ST.  CINCINNATI,  OHIO 


MONOCOLOR 

double-8mm  and  single-8mm  films 
for  all  cameras.  In  bulk,  or  spooled 
ready  for  use. 

Our  Latest  Catalogue  Mailed  to  You 
Promptly.  Send  Name  and  Address  to 
ESO-S  PICTURES 

"Quality  8mm  Service" 
3945  Central  St.  Kansas  City,  Mo. 


1003   riNNSYLVANIA  AVi.   M.W.,  WASHINGTON,   D.  C. 


PACE  82 


HOME  MOVIES  FOR  FEBRUARY 


mmwi 

Where  to  buy  and 
rent  home  movie  films 


More  amateurs  are  deriving  greater  pleas- 
ure from  their  home  projectors  by  regularly 
screening  some  of  the  fine  8mm.  and  16mm. 
reductions  of  professionally  produced  mo- 
tion pictures.  The  swing  toward  "whole 
evening  show"  home  movie  programs  is 
gaining  tremendous  momentum  with  the  re- 
sult that  important  photo  dealers  everywhere 
maintain  extensive  libraries  of  8mm.  and 
l6mm.  film  subjects  which  may  be  rented  or 
purchased  outright. 

To  guide  our  readers  in  the  selection  of 
an  evening's  show,  HOME  MOVIES  will 
present  here  each  month,  suggested  Movie 
Menus — well  rounded  programs  of  movies 
suitable  for  every  member  of  the  family. 

Listed,  too,  are  some  of  the  nation's  im- 
portant dealers  who  maintain  film  libraries 
for  their  patrons'  convenience  and  who  in- 
vite you  to  consult  with  them  regarding 
your  movie  show  needs. 


CALIFORNIA 

BAKERSFIELD 

Edwards  Camera  Exchange 

1609— 19th  St. 
HOLLYWOOD 

Morgan  Camera  Shop 

6262  Sunset  Blvd. 

SAN  LUIS  OBISPO 

Shadow  Arts  Studio 
1036  Chorro  St. 

KANSAS 

WICHITA 

Lewis  Film  Exchange 
216  East  1st  St. 

MASSACHUSETTS 

BOSTON 

Don  Elder's  Film  Library 
739  Boylston  St.,  Dept.  HM 

MISSOURI 

ST.  LOUIS 

Swank's  Motion  Pictures 
620  North  Skinner  Blvd. 

NEW  YORK 

BUFFALO 

Movies  for  the  Home 

211  Main  St. 
NEW  YORK 

Walter  O.  Gutlohn,  Inc. 

25  West  45th  St. 

Haber  &  Fink,  Inc. 

12-14  Warren  St. 

Medo  Photo  Supply 

15  West  47th  St. 

National  Cinema  Service 

69  Dey  St. 

OHIO 

DAYTON 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 

PENNSYLVANIA 

ALLENTOWN 

James  A.  Peters 
41  South  4th  St. 

WISCONSIN 

MILWAUKEE 

Photoart  House 

844  North  Plankinton  Ave. 


SUGGESTED  MOVIE  MENU  FOR 
FEBRUARY 

Castle  Films'  "Commando's  in  Ac- 
tion"; Official's  Films'  "Zoo's  Who"; 
Hollywood  Film  Enterprises'  Disney 
Cartoon:  Donald  Duck  in  "Red  Hot 
Bullets."  Approximate  running  time  for 
all  three  subjects,  35  minutes. 


ber  areas.  Here  again  is  the  making  of 
a  photographic  hohday. 

When  the  Spanish  padres  came  into 
New  Mexico  in  the  sixteenth  and  sev- 
enteenth centuries  they  immediately  be- 
gan building  great  mission  churches  to 
serve  the  Indians.  During  the  Pueblo 
Revolt  of  1680  many  of  the  massive 
structures  were  destroyed,  only  to  be  re- 
built within  the  next  two  decades.  Some 
of  the  original  missions  were  preserved, 
and  they  are  to  be  seen  in  daily  use  to- 
day. Characteristic  are  the  massive 
walls,  heavily  buttressed,  and  the  shad- 
owy interiors,  sometimes  richly  decor- 
ated with  Santos  and  other  religious 
relics. 

The  early  churches  of  New  Mexico 
as  a  whole,  a  century  and  a  half  older 
than  the  Missions  of  California,  consti- 
tute a  historical  and  religious  record, 
and  a  monument  to  the  faith  and  zeal 
of  their  builders,  equal  to  anything  in 
the  Xew  World.  Sun  and  shadow  join 
with  the  photographer  to  capture  a  pic- 
ture both  impressive  and  unique. 

Among  other  historical  spots  worth 
investigation  by  the  photographer  is  the 
old  Palace  of  the  Governors,  which  still 
stands  on  the  plaza  at  Santa  Fe,  New 
Mexico,  America's  oldest  capital  city. 
The  Palace  of  the  Governors  was  built 
in  1610,  and  today  serves  as  the  New 
Mexico  State  Museum,  where  the  ar- 
chives are  filled  with  historical  records 
of  this,  the  oldest  section  of  the  United 
States. 

Such  great  man-made  projects  as 
Avalon  Dam,  Elephant  Butte  Dam, 
Alamogordo  Dam.  and  Conchas  Dam, 
where  waters  of  the  rivers  have  been 
harnassed  to  aid  man  in  making  the  des- 
ert bloom  with  irrigation  are  worthy  of 
camera  study.  There  are  also  such  nat- 
ural wonders  as  lava  flows,  hot  springs, 
ice  caves,  and  many  others. 

Such  remnants  of  more  modern  his- 
tory' when  the  days  of  the  Old  West 
were  being  written  with  blazing  six- 
shooters  and  Indian  war  whoops  are 
still  to  be  seen  in  New  Mexico.  The 
ruts  of  the  old  Santa  Fe  Trail  still 
course  over  the  prairies,  and  the  ruins 
of  Old  Fort  Union,  once  the  greatest 
outpost  in  the  west,  lie  mouldering  in 
the  sun  and  in  the  shadow  of  the  Tur- 
key Mountains. 

Tucked  away  in  the  rolling  foothills 
of  the  northern  Rio  Grande  Valley  of 
New  Mexico  are  tiny  Spanish-Ameri- 
can villages,  where  customs  are  little 
changed  from  the  time  of  the  first  col- 
onists in  the  seventeenth  century.  Fies- 
tas mean  gay  times  among  these  people, 
but  even  their  everyday  life  presents  an 
old  world  touch  amid  the  hustle  and 
bustle  of  a  modern  civilization. 

Most  Spanish-American  fiestas  wel- 
come the  public,  but  the  photographer 
will  avoid  any  misunderstanding  by 
first  explaining  what  he   intends  to 


shoot.  Usually  a  village  mayor-domo  is 
the  proper  authority  to  speak  to.  In  rare 
instances  a  charge  for  filming  a  fiesta 
may  be  made,  but  generally  speaking 
the  visitor  is  welcome  as  a  guest  during 
the  celebration. 

For  sheer  action  and  drama,  the  cam- 
era fan  need  look  no  further  than  New 
Mexico's  colorful  cattle  country',  where 
cowboys  still  ride  the  range  as  they  did 
a  century  ago.  The  livestock  industry 
is  big  business  here,  and  the  roundup, 
branding  and  shipping  seasons  provide 
an  unlimited  opportunity  to  capture 
the  authentic  flavor  of  this  salty  range 
activity. 

Out  of  the  cattle  business  has  come 
the  rodeo,  and  no  more  spectacular  cir- 
cuit is  in  operation  than  New  Mexico's. 
From  early  spring  until  late  fall,  rodeos 
spell  the  common  denominator  of 
range-land  entertainment,  even  on  the 
dude  ranches.  Thrills,  chills,  and  spills 
are  in  store  for  the  camera  enthusiast 
in  the  dust  of  the  rodeo  arena. 

The  camera  fan  need  be  no  finished 
artist  to  capture  this  color,  this  strange 
and  enchanting  picture  that  is  New 
Mexico  the  year  around.  In  summer 
the  paths  of  adventure  are  endless  over 
good  roads.  In  autumn  comes  a  glori- 
ous season  throughout  the  state,  crystal 
clear,  with  the  landscape  flooded  with 
unbelievable  color.  In  winter,  the  ha- 
vens of  summer  visitors  are  alive  with 
the  squeak  of  skis,  toboggans  and  sleds 
over  the  thrilling  downhill  drops,  cov- 
ered with  crisp  snow  in  the  high 
country. 

The  movie  amateur  also  may  be  in- 
terested to  know  that  the  cloud  effects 
in  New  Mexico  are  without  equal.  A 
red  or  yellow  filter  will  capture  this 
added  beauty,  but  even  the  bare  camera 
lens  cannot  miss  it  all.  Shoot  for  the 
clouds  and  the  result  will  gladden  the 
heart  of  the  rankest  of  amateurs. 


ow6 


•  Continued  from  Page  52 

group,  an  official  Charter  will  be  is- 
sued for  a  100 /c  Reel  Fellows  club. 

Reel  Fellows  Clubs  are  springing  up 
everywhere.  Many  amateur  cine  clubs 
who  formerly  operated  under  another 
name  have  changed  the  name  of  their 
organization  to  Reel  Fellows  upon  re- 
ceipt of  their  charter. 

Any  Reel  Fellow  interested  in  Chap- 
ter organization  is  invited  to  write  the 
secretary  for  further  information. 


____  (S^-z-- 


HOME  MOVIES  FOR  FEBRUARY 


n  n  [ 

Backgrounds 


PACE  S3 

These  title  cards,  which  are  a  regular  feature  of  Home 
Movies  each  month,  are  designed  especially  for  use  with  type- 
writer titles  or  any  home-made  titler  that  will  photograph  at  a 
distance  of  8  inches.  Save  all  of  them  for  future  use.  Cut  them 
out  and  paste  on  3"x5"  file  cards,  using  rubber  cement. 

By  EDMUND  TURNER 


PACE  84  HOME  MOVIES  FOR  FEBRUARY 

CLASSIFIED  ADVERTISINi; 


EQUIPMENT  FOR  SALE 


C  BASS  SAYS;  Cine  leadership  displayed  more 
than  ever  by  magnificent  choce  of  fine 
equipment: 

USED  CAMERAS 
8mm   Bell  &  Howell  Single  8,  F;3  5  lens,  with 

case,  $22  50. 
Smm   Keystone,  F;2  7  lens,  with  case.  $27  50. 
8mm    Bell  &  Howell  Sportster,  Cooke  F:2  5 

lens,  with  case.  $57.50. 
16mm    Bell  &  Howell  70A.  Cooke  3  5  lens 

$44  50. 

16mm   Victor  3,  Dallmeyer  F  :2  9,  $47.50 
16mm.  Bell  &  Howell  Magazine  Model  141, 

Cooke  F:2  7  lens,  case,  $87.50 
16mm     Kodak   Cine    Magazine,    F:l  9  lens, 

$92  50. 

16mm.  Simplex  Magazine  Pockette  Kodak, 
F:1.9  lens  focusing  mount,  optical  finder, 
with  3"  Hugo  Meyer  Telephoto  interchange- 
able, $8950. 

16mm  Magazine  Filmo  Model  121,  Cooke  F:l  8 
lens,  case,  $74  50. 

16mm  Bell  &  Howell  Autoload  Master  Turret 
outfit,  15mm.  fixed  focus  F;2  7  wide  angle, 
1"  F;2  7  focusing,  2"  Acura  Telate  F;2  8 
focusing.  $247.50. 

16mm.  Movikcn,  Sonnar  F:14,  coupled  range 
finder,  with  case,  $295  00 

USED  PROJECTORS 

16mm  Bell  &  Howell  Model  57A,  recondi- 
tioned, 400  watt  lamp  and  case,  $47  50 

16mm.  Bell  &  Howell  Model  57CC,  375  watt 
l-^mp,  variable  resistance  and  volt  meter, 
with  case,  $64  50. 

16mm.  Ampro  Model  NC,  750  watt  lamp  and 
case,  $107,50. 

16mm  Kodascope  Model  EE,  750  watt  lamp, 
$50  00. 

USED  SOUND  PROJECTORS 

Victor  Animatophone  Model  33,  750  watt 
lamp  10  watt  output,  1600  ft.  with  speaker 
and  case,  $217.50. 

Victor  Animatophone  Model  40A,  new  condi- 
tion 750  watt  lamp,  20  watt  output,  with 
speaker,  $275.00. 

RCA  PC-60,  1600  ft.  capacity,  500  watt,  com- 
plete, $97.50 

Limited  Number:  Discontinued  new  model 
Craig  Jr.  16mm.  animated  Editor,  Splicer  and 
Rewind.  Regularly  $31.50,  our  price,  $23  65. 

In  stock — all  the  hard  to  get  cameras  and 
projectors    including    Filmomasters,  Ampro 

KD's  and  Ampro  8's. 

Just  out — complete  revised  Cine  price  list  cov- 
ering largest  assortment  in  the  country  in- 
cluding sound.  Free  on  request. 
BASS  CAMERA  COMPANY,  Dept.  HC,  179 
W.  Madison  St.,  Chicago,  Illinois. 


O  8MM  -16MM.  Sound  and  Silent  films,  pro- 
jectors, and  cameras.  Bought,  sold  and  ex- 
changed. Trades  or  terms  accepted  Free  bar- 
gain bulletin.  ZENITH,  308  West  44th,  New 
York 


•  REEL  offer— while  they  last!  Six  genuine 
Eastman  8mm.  camera  spools  ready  to  load 
with  bu'k  film  $1.00  postpaid.  SAVOY  PRO- 
DUCTIONS, 11571/2  N.  McCadden,  Hollywood, 

Calif.  

O  BOLEX  CAMERA— 16mm  ,  used  but  once. 
Complete  with  1"  f/1.5  Wollensak  lens.  Want 
quick  action.  Will  sell  for  only  $245.00  BOX 
F-12,  HOME  MOVIES  MAGAZINE,  6060  Sunset 
Blvd  ,  Holl'/wood.  Calif.  

•  WANT  TO  save  money  on  a  nearly  new 
8mm  Bolex  camera'  I  have  one;  shot  but  one 
roll  of  film  with  it  Will  sacrifice  for  $237  50. 
Fitted  with  half-inch  f/1  9  Wollensak  lens. 
Write  BOX  F-23,  HOME  MOVIES,  6060  Sunset 
Blvd  ,  Hollywood  

•  MAKE  your  own  8-16mm.  action-editor.  Easy 
to  construct.  No  shutter  or  moving  parts  Film 
appears  as  moving  pictures.  Send  $1.00  today 
for  plans  and  instructions.  BUCKLEY  BROS  , 
1 188  Broadview  Ave  ,  Columbus,  Ohio.  

•  EMEL  8MM  turret  f/1  9,  $129  50;  Berthiof 
W  A  Emel  attachment,  $39.50;  f/1. 9  Herma- 
gis  Lens  $39  50;  Keystone  L8,  500  watt, 
$31  50  Ampro  UAB  16mm  sound  pro].,  guar- 
anteed LN,  $325  00.  ALADDIN  CAMERA 
EXCHANGE,  4  East  32nd  St  ,  N  Y.  C.  

•  750  WATT  PROJECTOR  manufactured  by 
Standard.  Has  rewind,  new  flickerless  shutter, 
variable  speeds,  titling  base.  $50  on  10-day 
money-back  guarantee.  Box  J-12,  care  HOME 
MOVIES  MAGAZINE. 


•  Are  you  in  the 

marhet 

,  .  .  for  a  camera,  projector  or  some  other 
article  ol  used  cine  equipment?  Seeking 
bargains  in  films,  processing  or  titling? 
Then  you'll  find  opporiunities  in  these  clas- 
sified ads! 

•  Have  you  some- 
thing  to  sell 

.  .  .  or  trade — some  article  of  cine  equip- 
ment you've  outgrown  or  no  longer  use? 
Turn  it  into  cash  with  a  Home  Movies  clas- 
sified ad! 

RATES:  Ten  cents  per  word;  minimum 
charge,  S2  cash  with  order.  Closing  date, 
10th  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


WANTED 


•O  WANTBD — 16mm  silent  film,  any  subject, 
ediW:  4"  lens    RAY  ABBOTT,  Berwyn,  III. 

•  AMPRO  or  Bell  &  Howell  8mm.  projector 
in  good  condition,  f/1. 6  lens,  will  pay  up  to 
$55  00  cash  Also,  1 1/2"  ■f/3.5  Wollensak  tele- 
photo  for  Revere  8,  top  $15  00.  JOE  RICE, 
5033  Inadale  Ave..  Los  Angeles.  Calif.  

•  FIDELITONE  dual  turntable  with  three  pick- 
ups, prefer  without  amplifier,  new  or  used, 
write  fu'l  description  and  lowest  cash  price. 
A.  A  HEBERT,  53  Allyn  St.,  Hartford,  Conn. 

•  8MM  16MM  projector  owner!  Will  buy  any 
of  your  subjects  cash  or  exchange.  Highest 
prices    ABBE  FILMS.  1265  Broadway,  N.  Y.  C. 

•  NOTICE!  Will  pay  3c  each  (4c  in  trade) 
for  used  50'  8mm,  projection  reels.  Ask  for 
our  catalogue.  Ship  prepaid  ESO-S,  3945 
Central,  Kansas  City,  Missouri. 

FILMS 


•  THE  QUALITY  of  your  movies  depends 
mostly  upon  the  processing  and  types  of  film 
used.  If  you  pay  less  for  your  film  you  are 
getting  positive  film  which  was  not  manufac- 
tured for  camera  use.  We  have  worked  five 
years  in  perfecting  our  processing  and  we 
have  killed  the  last  bug  100'-  16mm.,  $2  50, 
70'  8mm.,  $1.50,  including  processing,  daylight 
loading.  COPE  STUDIO,  3720  So.  Figueroa. 
Los  Angeles.  Calif, 


O  8MM  FILM,  including  processing,  daylight 
loading,  non-halation,  25  ft.  8/8mm.,  Weston 
12,  85c;  Weston  24-16,  $1.25;  Weston,  64-40, 
$150.     RITTER  FILM  SERVICE,  629  Lyman 

Ave  .  Oak  Park,  III. 


■HTLING 


•  TITLING  LETTERS  that  give  you  profession- 
al results  Pin  letter  and  sanded  back  letters. 
Complete  sets  available  $4.75  up  Write  for 
descriptive  literature  Ask  about  Santa  Claus, 
Turkey  and  other  title  illustros  Big  variety  ot 
large  size  and  varied  style  letters  can  be  pur- 
chased by  the  letter  to  fill  all  titling  needs 
MITTENS  LETTER  CO,  Redlands.  Calif 

O  TITLING  and  Close-up  Lens  Kit— Six  sup- 
plementary lenses  of  16".  18",  20".  24",  32" 
and  40"  focal  lengths  Can  be  used  on  all 
titlers  which  provide  for  interchange  of  lenses. 
Also  ideal  for  general  close-up  photography. 
Complete  kit,  $3  00.  Separate  lenses,  60c  each. 
Also  available  in  6",  8"  and  12"  focal  lengths 
for  ultra-closeup  work.  HOLLYWOOD  CINE 
PRODUCTS  CO,  3221  So.  Figueroa  St.,  Los 
Angeles,  Calif. 


SALES  AGENTS 

Wanted  by  an  old  established  wholesale  photo- 
graphic supply  house.  Knowledge  of  Photogra- 
phy and  Photo  Finishing  necessary.  Reliable  men 
with  references  who  can  finance  themselves  as- 
sured a  satisfactory  and  permanent  return  for 
conscientious  work.  Give  fullest  details  for  im- 
mediate consideration.  Excellent  territories  open. 
Box  592F,  Suite  1800,  Times  Bldg.,  New  York. 


FILM  RELEASES 


•  NEW  COLOR  transparencies  and  motion 
pictures  of  Southwest  Indian  ceremonies  and 
home  life  Lectures.  E  P.  HUNT,  Stanford 
University,  Calif 


e  8MM  BEN  TURPIN  slapstick!  If  you  like 
the  old  time  slapstick  comedies  of  20  years 
ago  starring  Ben  Turpin,  Jack  Duff/,  Stan 
Laurel,  and  others,  join  our  Movie-A-Month 
Club  This  month  it's  a  two-reel  Ben  Turpin 
laugh  riot  titled  "Step  Forward!"  direct  from 
35mm  to  8  mm.,  so  the  quality  is  exception- 
ally good  Approximate  8mm.  footage  375', 
only  $4  00  per  reel.  Written  money-back  guai- 
antee  with  every  order.  No  C  O  D  s  COPE 
STUDIO,  3720  So  Figueroa,  Los  Angeles. 


•  8MM  FILMS!  Castle  releases,  50  ft.,  180 
ft.  New  prints.  Good  used  prints.  Sales, 
Exchanges  Trade-ins.  RIEDEL  FILMS,  Dept. 
HM-242,  2221  W.  67th  St  ,  Cleveland,  Ohio. 


•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  Bldg.,  Boston,  Mass. 


e  HOLLYWOOD  productions  galore!  Hun- 
dreds to  choose  from!  Bulk  film.  Bargain  lists 
yours  for  the  asking.  ERWINES  CINE  LAB- 
ORATORIES, Allentown,  Pa. 


•  8,  16MM.  films  bought,  sold,  exchanged. 
Silent-sound  subjects,  $2  00  up.  Odd  reels, 
$1  50.  Catalog,  sample  film,  10c.  INTER- 
NATIONAL, 2120  Strauss,  Brooklyn,  N.  Y. 


•  NOW!  Sensational  new  Kodachrome  film 
subjects,  8-16  mm.,  including  startling  Waikiki 
Hula  Girls.  Also  140  BW  subjects.  60  cents, 
up.  Lists,  stamp.  JENKINS,  392,  Elmira,  N.  Y. 


•  PASSION  PLAY,  8mm,  complete,  $2.94. 
I6mm.  sound  edition,  $32  00.  Foreign  lan- 
guage films,  many  exciting  bargains.  ART- 
CRAFT,  Hammond  Bldg  ,  Hammond,  Indiana. 


•  EXCHANGE  your  old  8mm.  for  brand  new 
comedies,  cartoons,  full  subjects.  Reasonable 
Mail  us  your  list.  ABBE  FILMS,  1265  Broadway, 
New  York. 


•  "JAPS  ATTACK  U.  S.  A."  Just  released 
8mm-16mm  silent  and  sound.  A  "must"  for 
your  litjrary.  Other  subjects.  Bargains  in  cam- 
eras, silent,  sound  projectors.  Films  rented 
everywhere.  Free  illustrated  catalog  (with  sam- 
ple film,  10c).  GARDEN  CAMERA,  317  West 
50th  St.,  New  York. 


•  8-16mm.  Films — Free  catalog  (with  sample 
film),  10c.  PARKWAY  EXCHANGE,  961  East 
Parkway,  Brooklyn,  N.  Y. 


•  YOURS  for  the  asking!  New  mammoth  40 
page  film  rental  catalog — silent,  sound,  8mm. 
and  16mm.  Forward  your  name  and  address  to- 
day. NATIONAL  CINEMA  SERVICE,  69  Dey 
St.,  N  Y.  C. 


PROCESSING  SERVICE 


W  MOTION  picture  processing.  100'  16mm., 
75c;  50'  16mm.,  50c;  25'  8/8mm.,  35c;  25' 
8mm  ,  25c.  RITTER  FILM  SERVICE,  629  Lyman 
Ave  ,  Oak  Park,  111. 


HOBBY  BOOKS 


O  Are  you  a  '  begi""e'  -  -ne  ranks  of  ama- 
teur movie  makers-"  Would  you  like  to  know 
how  to  use  your  camera  to  the  very  best  ad- 
vantage, yet  avoid  the  mistakes  and  wasted 
film  that  so  often  results  from  lack  of  knowl- 
edge of  fundamentals  of  cine  camera  opera- 
tion? Then  order  a  copy  of  "How  to  Use  a 
Movie  Camera."    Just  50c,  and  well  worth  it. 

Would  you  like  to  learn  how  to  process  your 
own  movie  film  so  that  you  can  buy  inexpen- 
sive film  in  bulk?  Let  us  send  you  "How  to 
Process  Home  Movie  Film,"  a  book  chock 
full  of  instructions  and  advice  by  experts  plus 
complete,  easy-to-understand  plans  ifor  build- 
ing your  own  simple  processing  equipment. 
Sent  postpaid  for  50c. 

Would  you  like  to  learn  hovj  to  make  your 
own  titles — what  equipment  to  use — what  ex- 
posure to  use — all  about  auxiliary  lenses — title 
building  a  very  simple  and  versatile  home 
movie  titler?  Then  send  for  "How  to  Title 
Home  Movies"    Price  $100  per  copy. 

VER  HALEN  PUBLICATIONS,  6060  Sunset 
Blvd    Hollywood,  Calif. 


i4Je^ne>  pAeitif,  fiAXiud  ol  UUi  LjooJz 


WE  thought  How  to  Make  Good  Movies 
was  a  good  book  when  we  first  brought 
it  out.  And  we've  tried  to  keep  it  an  equally 
good  book  throughout  its  several  modest  re- 
vises and  substantial  new  printings. 

Changes  have  been  made  in  copy  and 
illustrations  from  printing  to  printing  when- 
ever necessary.  Yet  the  bulk  of  the  mate- 
rial in  the  230  pages  is  essentially  as  it  was 
when  the  book  was  first  brought  out  —  almost 
125,000  copies  ago! 

At  the  left,  below,  are  a  few  of  the  comments 
of  its  many  readers.  These — if  by  chance  you 


have  yet  to  read  the  volume — should  recom- 
mend it  to  you  if  its  popularity  has  failed  to. 
And  if  you  do  have  a  copy  of  the  book,  suggest 
How  to  Make  Good  Movies  to  friends  who 
are  beginners  at  movie  making.  Consider  its 
value,  too,  as  a  movie  missionary  ...  as  the 
answer  to  that  familiar  query,  "Tell  me — 
are  movies  really  as  easy  as  some  people  say 
they  are?"  For  this  book  not  only  contains 
hundreds  upon  hundreds  of  ideas  for  the  man 
who  has  a  camera,  but  is  likewise  an  enter- 
tainingly written  and  readily  digestible  out- 
line of  movie  technic  and  movie  possibilities. 


What  "AlUgear  Drive"  Means  in 
Filmo 
Projectors 


PlayllOMQMl 

i  i  •  a  fascinating  new  game 

•  •  •  entertaining  and  educational 

.  .  .  for  children  and  adults 

How  much  do  you,  your  children,  and  your  friends  know  about 
America?  About  our  great  National  Parks  and  other  scenic 
wonders?  About  the  world  and  its  peoples?  About  history, 
current  events,  sports,  and  bird  life? 

Here's  a  delightful  new  way  to  measure  that  knowledge  and, 
more  important,  to  mcrease  it  tremendously  .  .  .  while  having 
a  lot  of  fun  and  good  fellowship.  Play  Moviquiz! 

HOW  TO  PLAY  MOVIQUIZ 


Go  to  your  Filmo  dealer  and  rent  or 
purchase  one  or  more  B&H  Movi- 
quiz Films.  The  Moviquiz  kit,  in- 
cluding rules,  question  sheets,  and 
answers,  will  be  supplied  at  a  cost 
of  only  2  5  cents  for  each  film. 

Before  projecting  a  film,  have  each 
participant  check  what  he  or  she 
thinks  are  the  correct  answers  to  the 
Quiz  Sheet  questions.  Then  show 
the  film,  and  listen  for  the  expres- 


sions of  elation  (or  otherwise  )  as  the 
film  reveals  the  true  answers.  After- 
ward, the  papers  may  be  graded  and, 
if  you  wish,  prizes  may  be  awarded. 

Play  Moviquiz  once,  and  you'll 
make  it  a  regular  feature  of  all 
gatherings  in  your  home!  You'll  be 
amazed  at  how  Moviquiz  deepens 
children's  interest  in  informative 
films  ...  at  how  much  more  they 
learn,  this  stimulating  new  way. 


you  PICK  YOUR  QUIZ  SUBJECTS 


It's  good  quiz  technique,  of  course, 
to  select  subjects  suitable  for  the 
age  level  and  knowledge  of  those 
who  play  the  game.  So  that  you  may 
follow  this  good  practice.  Bell  & 
Howell  oflFers  Moviquiz  Films  in 
wide  diversity  .  .  .  offers  a  group  of 
films,  with  more  to  follow,  under 


each  of  these  classifications: 
See  America  First    •    Our  Colorful 
World    •    North  American  Birds  • 
History  and  Current  Events  •  Sports 
•  Handicrafts  and  Hobbies 

Stage  your  first  Moviquiz  this  week 
end.  See  your  Filmo  dealer  today. 

Get  These  New  Film  Catalogs 

Not  only  the  Moviquiz  Films,  but 
thousands  of  other  fine  films  for  home 
movie  programs,  are  described  in 
these  three  new  Filmosound  Library 
Catalogs.  Free  to  I6mm.  sound  pro- 
jector owners;  25c  each  to  others. 
Mark  coupon  for  catalogs  wanted. 

Bell  &  Howell  Company,  Chicago; 
Washington,  D.  C;  London. 


When  we  say  that  Filmo 
Master  8mm.  and  16ri:m.  Pro- 
jectors hiMt.  all-gear  drive,  we 
mean  that  all  power  trans- 
mission, visible  and  invisible, 
is  done  without  spring  or 
chain  belts.  B&H  construc- 
tion like  that  pictured  here 
frees  you  from  handling  oily 
reel-spindle  belts,  eliminates 
chains  which  wear,  jerk,  and 
become  noisy,  and  gives  you 
positive,  quiet  drive,  always. 

During  manufacture,  as- 
sembly, and  testing  of  Filmo 
Projectors,  2800  inspections 
assure  meeting  B&H  stand- 
ards of  precision.  Filmo 
Master  Projector,  I6mm., 
$169-60;  8mm.,  SI  16.25. 


Why  B&H  Lamps  Give  a 
Bigger  Money's  Worth 

A  projection  lamp  rating 
of  1000,  750,  or  500  watts 
doesn't  guarantee  delivery 
of  the  indicated  light  to 
your  screen.  As  much  as 
1  3  of  the  light  can  be  lost 
if  the  lamp  filament  is  not 
centered  in  the  projector 
optical  system.  Filament 
location  varies  as  much  as 
3  16-inch  from  the  ideal! 
That's  a  tremendous  vari- 
ation, for  the  filament  area 
is  only  Vi-inch  square. 

B&H  lamps  are  no  bet- 
ter than  others  uhen  ue 
get  them.  But  B&H  in- 
spection rejects  all  except 
the  best.  In  the  machine 
shown  here,  each  accepted  lamp  is  placed  with 
its  filament  in  the  ideal  location,  and  clamped 
there.  Then  the  machine  brazes  the  B&H  pre- 
focusing  ring  to  the  lamp  base.  Thus  each  lamp 
is  a  custom  job,  "tailored"  lot  your  Filmo! 

A  lamp  so  prepared  can't  be  put  into  a  Filmo 
Projector  in  any  but  the  one  position  where  all 
its  useful  light  will  be  available  for  the  screen. 
That's  why  Filmo  Projectors  and  B&H  lamps 
give  you  the  light  you  pay  for! 


Filmosound  "Utility" 

For  showing  sound  films 
at  home.  Presents  I6mm. 
silent  films,  too — a  real, 
all-purpose  projector. 
Ask  your  dealer  for  a 
demoustration,  and  for  a 
trade-in  allowance  on 
your  silent  projector. 


Send  Coupon  for 
Complete  Information 


New  York;  Hollywood; 
Established  1907 


PRECISION- 
MADE  BY 


BELL  &  HOWELL  COMPANY 
182  5  Larchmont  Ave.,  Chicago,  IlL 

Please  send  complete  details  about:  (  )  Movi- 
quiz Films;  (  )  8mm.  projectors;  (  )  l6mm. 
silent  projectors;  (  )  Filmosounds. 
Send  catalogs  of  1 6mm.  films:  (  )  educational; 
(  )  recreational;  (  )  religious.  I  own  |  ^  jflenf 

projector  of  make. 

Name  

Address  

City  State  hm2-«2 


YEARLY  SUBSCRIPTION,  $2.00 

1 


1\  i, 


March 

'I        .  <:  <  :  c     0  C  'q 

•  ••lO    a',  tic  ci-p 


•  1942 

LARGEST  CIRCULATION  OF  ANY  AMATEUR  MOVIE  MAGAZINE! 


VISIT  TODAY'S  BATTLEFRONTS! 


A  thrill  for  every  Projector  owner  in  these  timely  films! 


Free 
Demonstration 

Your  dealer  will  gladly  screen 
these  Hollywood  Home  Mo- 
vies for  you  and  obtain  on  spe- 
cial order  any  of  the  films 
listed  in  our  catalog.  For  FREE 
catalogs  of  latest  8  mm.  and 
16  mm.  Hollywood  Home  Mo- 
vies releases,  send  us  your 
dealer's  name  and  address  and 
indicate  films  in  which  you're 
interested. 


Never  a  Dull  Moment  .  .  . 

When  You  Screen  Donald  Duck  Cartoons! 

They're  the  spice  of  any  home  movie  program — entertain- 
n         ing  for  young  and  old.  The  following  arc  just  a  few  of 
Cy^  ''P      the  new  series  of  Donald  Duck  cartoons  made  available 
'  for  release  in  8  mm.  and  16  mm: 

Donald  the  Auto  Mechanic  913-A 

Donald  Duck  in  The  Ham  Actor  ..914-A 

Donald  Duck's  Outing  1551 -A 

Donald  Duck  in  Ducking  Out  1552-A 

Donald  Duck's  Buzz  Saw  Battle  1  554-A 

Donald  Duck's  Trained  Seals  1  557-A 

■  ©^m.         Donald  Duck   in   Off   Balance  1  558-A 

100-Foot  —  16mm.  —  S3. 00 
50-Foot —    8mm.  —  1.50 

'^Build  A  Library  of  Animated  Cartoons'^ 


HOLLYWOOD  FILM  ENTERPRISES,  mc 

6060  SUNSET  BOULEVARD  •  HOLLYWOOD.  CALIF. 


.DVISORY  EDITORS 

I,  A.  K.  BAUMGARDNER 

Peoria  Cinema  Club 

ER  BEZEK 

Chicago  Cinema  Club 

JAMES  BIALSON 

Amateur  Kiotion  Picture  Club  of  St.  Louis 

Imoss  brown 

'  Dallas  Cinema  Club 

\LTER  BRACKEN 

The  8-16  Movie  Club,  Philadelphia,  P«. 

AUDE  W.  A.  CADARETTE 

Los  Angeles  8mm  Club 

EMERSON  CLYMA 

Detroit  Society  of  Cinematographers 

SSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

RIL  DVORAK 

Suburban  Amateur  Movie  Club 

[THUR  E.  GIBBS. 

Portland  Cine  Club 

A.  HOOK 

Seattle  8mm  Club 

i.FRED  F.  KAUFMAN 

I  Indianapolis  Amateur  Movie  Club 

'E.  NESTELL 

Cinemen  Club 

^PCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club  , 

L6ERT  B.  PETERSON 

Metropolitan  Cine  Club 

)ME  RIEBETH 

Minneapolis  Cine  Club  , 

THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8m«n  Movie  Club 

aUL  SNYDER 

Norfolk  Amateur  Movie  Club 

;ED  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 
SISSEL 

Austin  Movie  Club 

C.  ENION  SMITH 

Metro  Movie  Club  of  Chicago 


ered  as  Second-Class  Matter,  May  4,  1938,  at 
PostoHiee  at  Los  Angeles,  Calif.,  under  the 

I Act  of  March  3.  1879. 
scription  rates:  U.  S.  $2.00  per  year.  Canada 
Foreign   Countries,    $3.00    per   year.  Single 
ies  25c.    Canadian  and  Foreign  single  copies 
,    Copyright,  1940.  by  Ver  Halen  Publications. 
Advertising   rates  on  application. 


. nome  

MOVIES 


Reg.  U.  S.  Pat.  Off. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.  Price  25c  per  copy  in 
U.  S.  No  part  of  magazine  may  be  reprinted  without- 
specific  permission. 

Member  Audit  Bureau  of  Circulations 


CONTENTS  FOR  MARCH,  1942 

INFORMATION    PLEASE    90 

WITH   THE   REEL   FELLOWS    92 

TITLE  TROUBLES    -   94 

THE   READER   SPEAKS   96 

FULL  PAGE  TITLE  BACKGROUND  By  J.  Wnt.  DuVall    98 

KEEP  RIGHT  ON  SHOOTING.' — By  Ciirtis  Randall     99 

HOW  TO  MAKE  YOUR  TITLES  BLACK  By  GcOYgC  W.  Cushmatt   100 

FILMING  BIRDS — A  HOBBY  WITHIN  A  HOBBY.' — By  Richard  Casscll  .  lOI 

HOW  TO  BUILD  A  STAGE  FOR  TRICK  FILMING  By  G.  A.  Gauld   I02 

WHAT  THE  BEGINNER  SHOULD  KNOW  ABOUT  FILM 

— By  Stanley  E.  Andrews  lo} 

movie'  of  THE  MONTH — By  J.  H.  Schoen    104 

NEW  FILMING  IDEAS  FOR  EVERYONE  IN  MONTHLY  REVIEWS    lOJ 

THE  EXPERIMENTAL  CINE  WORKSHOP       Io6 

it's  new  to  me.' — By  Cinebug  Shopper   108 

IF  YOU  WANT  A  FILM  TO  SHOW     I  lO 

FILM  EMULSION  RATING  CHART   112 

EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS    Il8 

ONE  REEL  MOVIES  1   12  J 

HANDY  GUIDE  TO  BACK  ISSUES   -  126 

HOME  MOVIE  TITLES — By  Edmiind  Turner     127 


no/ 


CHAS.  J.  Ver  HALEN 

PUBLISHER 


C.  ).  Ver  HALEN,  )R. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


MARCH 


NUMBER  3 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
|.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S      MAGAZINE       FOR      THE      MOVIE  AMATEUR 


PACE  90 


NEW 

SURVEY 

byJa  Leading 
Photographic  Magaxine 


OVERWHELMING 
POPULARITY  OF 

SCREENS 


Reg.  U.  S.  Pat.  Off. 

what  is  probably  the  most  extensive  unbiased 
survey  ever  made  of  the  buying  habits  o< 
camera  fans  was  recently  completed  by  a 
prominent,  large-circulation  photographic 
magazine.  Thousands  of  readers  were  asked 
which  makes  of  screens  they  owned.  The  re- 
plies showed: 

THESE  READERS  OWN  MORE  DA-LITE 
SCREENS  THAN  ALL  OTHER 
MAKES  COMBINED 

You  too,  will  want  the  superior  performance 
thai  only  a  Da-Lite  Screen  can  give — the 
brighter,  sharper  pictures  of  Da-Lite's  spe- 
cially processed  Glass-Beaded  surface  —  the 
easier  operation  of  Da-Lite's  simpler,  more 
efficient  mountings — and  the  longer  service 
of  Da-Lite's  sturdier  construction.  Don't  ac- 
cept imitations!  Ask  your  dealer  for  a  genu- 
ine DA-LITE  —  America's  most  popular 
screen!  Write  for  literature! 

DA-LiTE  SCREEN  CO.,  Inc. 

Dept.  3HM,  2715  No.  Crawford  Ave.,  Chicago,  III. 


information 


HOME  MOVIES  FOR  MARCH 


PIEISE 


Exposure  Meter  (John  t.  Bariow, 

Colorado  Springs,  Colo.) 

Q.  Although  my  new  cine  camera 
seems  to  have  a  dependable  exposure 
guide  attached  to  it,  I.h.ar  and  read  a 
great  deal  about  ehctric  exposure  me- 
ters. What  additional  adiantage  is  of- 
fered by  these  meters? 

A.  As  you  progress  with  your  movie 
making,  naturally  you  will  learn  of 
many  gadgets  and  accessories  designed 
to  make  your  hobby  more  interesting 
and  successful.  Perhaps  the  most  impor- 
tant is  the  electric  exposure  meter  and 
its  value  becomes  important  just  as  soon 
as  you  begin  to  shoot  indoor  movies  or 
scenes  or  subjects  where  the  general  ex- 
posure terms  of  your  camera  guide  do 
not  apply. 

Your  camera  exposure  guide  is  satis- 
factory for  general  outdoor  filming,  but 
when  you  make  shots  of  subjects  in 
shaded  spots,  or  under  adverse  light  con- 
ditions, the  electric  exposure  meter  will 
give  a  more  correct  reading,  enabling 
you  to  achieve  more  consistent  exposure 
in  all  of  your  shots. 

Filter  Facts  (H.  H.  Mammick,  Al- 
buquerque, N.  Mex.) 

O.  I'm  interested  in  using  filter,  but 
there  seems  to  be  so  many  different  col- 
ors and  they're  marked  by  seemingly 
meaningless  symbols  that  I'm  a  little 
confused  as  to  what  filters  to  select  and 
just  what  they  will  do  for  my  movie 
photography. 

A.  Before  you  start  to  use  filters,  bet- 
ter get  a  book  on  the  subject  and  read 
up  on  filters  and  their  uses  or  refer  to 
the  several  articles  on  the  subject  which 
have  appeared  in  earlier  issues  of  Home 
Movies.  The  filters  you  refer  to,  of 
course,  are  for  use  only  with  black  and 
white  panchromatic  film  —  not  Koda- 
chrome  —  although  there  are  filters  to 
be  used  with  Kodachrome,  too,  under 
specific  conditions  but  not  for  the  same 
reason  as  when  used  with  panchromatic 
film. 

Filters  are  used  to  obtain  a  correction 
in  color  values  or  to  attain  certain  ef- 
fects such  as  darkened  skies,  contrasty 
clouds,  or  to  lend  a  warmth  to  the  scene 
not  obtainable  without  the  use  of  a  filter. 

Filters  designed  for  such  use  are  yel- 
low, orange,  yellow-green,  and  red. 

Several  manufacturers  are  making 
complete  kits  available  for  movie  cam- 
eras which  include  a  combinat'on  lens 
shade  and  filter  holder  and  two  or  three 
of  the  most  commonlv  used  filters.  The 


•  REAntRS:  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
uill  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


effects  you  desire  will  govern  your  selec- 
tion and  use  of  filters. 

Kodachrome  Dupes(A  g  Biakes 

ly,  Amarillo,  Tex.) 

Q.  /  wish  to  make  a  duplicate  print 
of  a  roll  of  Kodachrome,  using  my 
camera  as  a  printer.  How  should  th? 
two  films  be  tijreadcd  in  the  camera, 
which  film  should  be  nearest  to  the  lens 
and  which  sides  of  the  film  should  be 
in  contact  as  they  pass  through  the  film 
gate? 

A.  To  make  a  duplicate  print  by  us- 
ing your  camera  for  a  printer  the  film 
to  be  duplicated  should  be  nearest  the 
lens  so  that  the  image,  illuminated  by 
the  light  coming  through  the  lens,  is 
registered  on  the  raw  film  adjacent  to  it. 

For  sharpest  prints,  films  should  run 
through  camera  with  emulsion  sides  in 
contact.  This  will  result  in  duplicated 
print  being  reversed  when  projected — 
that  is  all  objects  in  scenes  will  be  re- 
versed from  left  to  right.  Placing  shiny 
side  of  raw  Kodachrome  stock  next  to 
emulsion  side  of  print  will  give  good 
results,  the  scenes  in  natural  position, 
but  a  slightly  diffused  image. 

Reticulation  (George  H.  Warner, 
Scranton,  Pa.j 

O.  I'm  new  at  home  processing — 
hai  e  reversed  but  three  rolls  of  film  so 
far.  My  last  roll  particularly  shows  a 
crackle  effect  which  also  showed  up  in 
the  preceding  tivo  rolls,  but  not  so  in- 
tense. I  have  consistently  followed  the 
procedure  and  formulas  in  your  book, 
"Hoic  to  Rcierse  Movie  Fihn."  Can  you 
throw  any  light  on  my  trouble? 

A.  From  your  description,  it  appears 
your  trouble  is  reticulation.  Reticulation 
is  that  wrinkling  effect  in  the  emulsion 
that  results  when  processing  solutions 
are  kept  too  warm  or  temperature  of  the 
room  in  which  processing  takes  place  is 
above  normal. 

All  solutions  should  be  kept  below 
70°  F.  and  this  also  applies  to  room  tem- 
perature. There  are  many  ways  of  con- 

•  Continued  on  Page  12} 


33  yeoAl 


HOME  MOVIES  FOR  MARCH 


PAGE  91 


BOTH  IN  ONE  FILM! 

CASTLE  FILMS-  SCmT^^-W"'"'- 

Bombing  of 

PEARL  HARBORl 


BLAZING  RECORD  of  a  ^s^^  ^ 

U.  S.  history!  f-f^^Ynmng  o?  America's 
Navy  release  of  the  beg""   ^  ^„  ^he 

now  and  posterity'. 


ii 


Burning  of 

S.S.NORMANDIE!" 

.^■c  f  <;fin  000,000  luxury 
TRAGIC  FATE  °f  ^eO^^^^e  fire  as  it  rari 
liner!  On-the-spot  filmmg  ot  t 

its  shocking  ;:°--^^J^fof  'fl  Escapes! 
3,  rescue  work!  Batthng^^  ^^^^ 

Rescue  of  i^jurea. 
show  this  amazing  film. 

RLL  Castle  8mm.  films  are  aibu  


ON  SALE  AT  VOUR  PHOTO  DEALER  OR  SEND 
1?I!,S  HANDY  ORDERFORNrrOH|«^^ 


«^  pkarl  Harbor  and 
length  indicated. 

$1.75  □ 
$5.50  □ 
,  $2.75  □ 
.  $8.75  □ 


flame- 


State- 


50  ft.,  Smrn.  .  . 

180  ft.,  8inm.  . 

100  ft.,  16mm. . 

360  ft.,  16  mm. 
350  ft.,  16mm. 
Sound-On-Film 


$17.50  □ 

HM-3 


PAGE  92 


HOME  MOVIES  FOR  AAARCH 


use  the 


G-E 


Exposure 
Meter 


IF  Tpn  -sraiit  ?i]}jouette>.  Tou  can  make  sure 
of  expfi^Tire  by  using  the  G-E  meter  in 
thl*  manner:  With  water  made  brilliant  by 
f>ack  lighting,  as  shown  in  the  above  photo- 
graph— or  trith  mow,  saod,  or  sky — amply 
point  your  G-E  meter  at  the  scene,  and  read 
the  exposure. 

But  if  you  don't  ^rant  a  silhouette  and  want 
subject  detail,  measure  the  dark  side  of  your 
subject  with  a  ciose-np  reading  and  expose 
accsording  to  the  meter  reading. 
Get  mcrt*  out  of  yoor  pictures  and  gel  the 
effect  you  want  with  the  G-E.  It  brings  yon 
«»»Mi»i¥ig  accuracy,  and  extreme  se&snmty, 
and  has  many  other  features  yoa  will  like. 
Ask  your  dealer.  Gaund.  Elevirie  Compimg, 


Pht^ogra-fk  oj  Ivan  DmUri, 
taiat  tm  Dmitri  Camera  Tomr. 
CwHcBji  C-ttmatliau  Satiijmal 


METERS 


ll'itktke  HEEL  FELLDUS 


FRIENDLY  FRATERNITY 


OF  MOVIE  AMATEURS 


GENERAL  %  ELECTRIC 


Reel  Ideal 

£icr.  aay  seems  to  add  to  the  enthusi- 
asm of  Reel  Fellows,  an  enthusiasm  that 
is  fast  permeating  the  ranks  of  movie 
amateurs  everj-where,  bringing  new 
members  to  the  fold — imaginative  mem- 
bers with  many  excellent  ideas  for  ex- 
panding and  improving  the  service  of 
:he  Reel  Fellows'  organization. 

Published  here  is  the  letter  of  one  new 
member  who  evisions  vast  possibilities 
m  new  friendships,  mutual  service,  and 
generally  increased  fun  in  movie  mak- 
ing through  association  with  the  Reel 
Fellows  group.  Its  an  inspirational  mes- 
sage for  members  and  prospective  noem- 
bers  alike: 

Reel  Fellows  Editor, 
HcHne  Movies  Magazine: 

Enclosed  please  find  "one  lonesome 
buck"  as  my  initiation  fee  to  the  "Reel 
Fellows"  Club.  As  I  have  been  devoting 
all  my  spare  time  in  teaching  myself  the 
fundamentals  of  Cine-photography,  I 
just  haven't  got  around  to  becoming  a 
member,  so  with  receipt  of  the  above 
apphcation,  I  now  feel  that  I  am  privi- 
leged to  speak  up. 

Last  Augua,.iii^  husbaad  and  I  took 
a  western  trip  and  purchased  a  very 
good  movie  camera,  and  without  bene- 
fit of  meter,  tripod  or  any  ocher  acces- 
sory except  a  haze  filter,  we  set  out  to 
conquer  the  "wide  open  spaces."  Before 
leaving,  I  sat  up  dihgently  until  two  or 
three  o'clock  in  the  morning  and 
snatcLed  every  spare  moment  I  could 
get  to  teach  myself  the  fundamentals 
necessani-  to  making  good  movies.  'Tel- 
low  Members,  I  got  'em!"  I  now  boast 
2  5  oo  feet  of  beautiful  Kodachrome  mo- 
vies only  since  last  August,  and  have 
every  possible  piece  of  eqo^nnent  with 
the  exception  of  a  special  lens  that  I 
have  on  order  now,  so  mayfoe  I  am  quali- 
fied to  be  accepted  in  your  wonderful 
club. 

The  article  written  by  Mr.  Austin  E. 
White,  542  Brompton  Avenue,  Chicago, 
nL,  prompted  the  writing  of  this  letter 
to  the  Reel  Fellows  Qub.  Mr.  White's 
idea  is  the  most  constructive  bit  of 
thinking  for  the  benefit  of  his  fellow 
members  I  have  yet  read.  It's  unselfish — ■ 
it's  mutual — ^and  it's  good  sportsman- 
ship. We  are  for  his  idea  ioo*c-  That 
get  together  idea  of  his  and  "hatching 
it  out"  is  the  answer  to  a  cine-bug's 
prayer. 

But  what  is  stopfHng  this  idea  from 

going  farther?  Could  it  be  that  an  idea 


REEL  FELLOWS 

This  department  chronicles  Hie 
doings  of  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellow;  informed  of  your  activi- 
ties through  this  column?  Write  the 
editors,  giving  details  of  your  filming 
activities,  future  filming  plans,  or 
interesting  experiences  encountered 
through  your  affiliation  with  this 
fast  growing  organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideratvo* 
will  be  given  to  their  publicatio* 
when  space  permits. 


of  mine  might  be  added  to  his  to  make 
this  a  "reel  venture?" 
Here  goes  .  .  . 

Corresponding  with  fdlow  members 
from  border  to  border,  and  coast  to  coast 
is  just  swell,  but  I'm  sdfish  enough 
to  want  a  Uttle  bit  more  than  conversa- 
tion out  of  it. 

If  someone  hasn't  already  beat  me  to 
the  thought,  I'm  all  for  an  exchange  li- 
brary. For  instance,  Helen  Smith  Uving 
in  San  Francisco  has  six  or  eight  feet,  of 
the  San  Francisco  Bay  Bridge.  And  sup- 
posing I  am  a  bridge  o^ector,  I  contact 
my  erstwhile  "Reel  Fellow" — tell  her 
of  my  need  of  the  amount  of  footage  I 
want  of  the  bridge,  whether  in  Uack  or 
white,  or  Kodachrome  and  give  her  an 
idea  of  what  sort  of  angles  I'd  like  the 
picture  taken  from.  Flelen  would  send 
me  the  above  footage  "Free,"  and  in  re- 
turn, maybe  Helen  would  like  six  or 
eight  feet  of  beautiful  Maumee  Valley, 
or  the  Zoo,  or  maybe  fishing  vessds  on 
Sandusky  Bay.  I  would  forward  her  six 
or  eight  feet  or  the  stipulated  amount 
she  wanted  in  the  ccdor  specified.  How 
could  this  be  costly  when  you  would  be 
receiving  footage  for  footage  in  return, 
and  you  wouldn't  have  to  go  to  the 
other  ends  of  the  earth  to  get  it?  If  Mr. 
White's  plan  is  put  into  effect,  yon  '^Reel 
Fellows"  can  count  ns  in  on  your  idea, 
and  we  will  do  everything  possible  to 
work  toward  a  "Ked  Ideal"  for  all  con- 
cerned. 

I  have  already  reserved  a  400-ft.  new 
reel  and  container  for  Kodachrome  Film. 
If  my  idea  is  added  as  a  trailer,  this  will 
be  my  first  request — To  Hden  Smith. 
Dear  Helen:  I  would  like  six  feet  of  San 
Francisco  Bay  Bridge  in  Kodachrome  in 
exchange  for  anything  yoa  have  deared 

•  Camlimmr  -  :~  ?—r  124 


MAGAZINE 


Subscription 
Order  Form 


HOME  MOVIES  FOR  MARCH 


PAGE  93 


RUSSIA  STOPS  HITUR ! 


8 

min. 


SrARrUNG  MOI//ES  FOR 
£(/£Ry  PROJECTOR  Om£R! 


4«) 


16 


F/^Sr/  flLMEP  UNDER  FfRE! 


HITLER'S  TIMETABLE  UPSET  by  Russian  fighting 
fury!  Gripping  battle  movies  of  Russia's  miracle 
winter  blitz!  See  roaring  tanks,  blazing  artillery 
and  air  attacks,  blood-chilling  bayonet  charges  by 
fearless  Soviet  troops!  See  shattered,  shell-gutted 
Panzer  divisions!  Freezing  Nazi  prisoners  cap- 
tured! Own  this  astounding  movie  for  now  and  pos- 
terity! Costs  less  than  unexposed  film! 

All  Castle  16  MM  films  are  processed  by  VAP-O-RATE.  All  Castle  8  MM  are  also  treated. 


Please  send  me  Castle  Films'  "RUSSIA 
STOPS  HITLER"  in  the  size  and  edition 


8  mm. 

Headline  $^   -j  f' 
50  Feet  l./O 

Complete  $jF  Cf\ 
180  Feet  O.OU 

16  mm. 

Headline  %e\  "jr  C 
100  Feet     jL,f  D 

Complete  $  J> 

360  Feet  O./D 

Sound  cn 
350  Feet  •/  . 

RCA  BLDG.  NEW  YORK, 


FIELD  BIDG.  CHICAGO, 


RUSS  BLDG.  SAN  FRANCISCO 


.J 


PAGE  94 


HOME  MOVIES  FOR  MARCH 


3  INCH-F3.5 

TELEPHOTO 
LENS 

In  focusing  mount  to  fit  following 
16mm.  cameras: 

FILMO  -  BOLEX 
VICTOR  -  KEYSTONE 
CINE  KODAK  E 


$94.50 


31 


The  magnification  of  this  lens  is 
three  times  that  of  the  25  mm.  lens 
usually  supplied  on  i6mm.  cam- 
eras, and  six  times  that  of  the 
12.5mm.  lens  supplied  on  8mm. 
cameras. 

Special  Adapters  available.  This 
lens  may  be  used  on  many  8mm. 
cameras.  Priced  at  ( (extra)  $3>00 

MAIL  ORDERS  FILLED 


no  West  32nd  Street,  New  York 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 
Established  1898 


TITLE  THOmiES 


By  GEORGE  W.  CUSHMAN 


If  you  have  any  questions  concerning 
titles  or  title-making  Mr.  Cushman  will 
be  glad  to  help  you.  You  may  address 
him  in  care  of  this  magazine  or  direct 
to  his  home  address,  504  Stanton  Ave- 
nue, Ames,  Iowa.  Be  sure  to  include  all 
information  such  as  type  of  equipment 
u'^ed,  light  source,  kind  of  film,  develop- 
er, etc.  Don't  forget  to  include  a  self- 
addressed  stamped  envelope  if  you  wish 
an  early  reply. 

Q.  /  have  been  trying  to  film  a  title 
in  which  the  pages  of  a  book  open,  thus 
revealing  the  name  of  the  film.  How- 
ever, I  get  a  light  reflection  along  the 
right  edge  of  every  page  and  I  can't 
seem  to  kill  it.  Have  you  any  suggestions 
as  to  how  this  might  be  accomplished? 
— N.  L.,  Meridian,  Miss. 

A.  The  whole  answer  lies  in  correct 
placement  of  your  lights,  and  perhaps  in 
diffusing  them  a  bit,  also.  If  I  read  your 
diagram  correctly,  your  lights  are  about 
as  high  as  the  camera  lens  and  pointing 
down  at  the  book.  I  suggest  you  lower 
the  lights  considerably.  This  should 
throw  the  reflection  much  lower  on  the 
page  and  perhaps  eliminate  the  glare  en- 
tirely. Diffusing  the  light  with  tracing 
cloth,  sheeting,  or  even  tissue  paper 
should  also  help. 

If  these  suggestions  do  not  take  care 
of  the  situation,  then  use  four  lights, 
each  one  pointing  at  the  book  from  the 
four  corners.  This  may  give  you  a  little 
difficulty  with  shadows  as  you  turn  the 
pages,  but  by  trying  the  lights  at  vari- 
ous heights  you  should  be  able  to  elimi- 
nate the  shadows  entirely. 

Q.  The  enclosed  samples  of  home  de- 
veloped  title  film  are,  you  will  agree,  a 
disabi)ointment.  Ordinarily,  I  have  good 
luck,  but  these  look  as  though  light  got 
into  the  lens  from  someu>here  thereby 
fossinz  the  Him.  What  is  your  analysis? 
— F.  G.  Y.,  Dubuque,  Iowa. 

A.  Whenever  stray  light  enters  a  lens, 
it  usually  forms  an  image  on  the  film, 
the  same  as  any  other  lighted  object. 
Your  film  however,  is  grey  all  over;  not 
even,  but  spotty.  It  is  grey  even  to  the 
edges  where  the  lens  does  not  cover, 
thereby  ruling  out  the  light-entering- 
the-lens  theory.  If  the  grey  fog  were 
even.  I  would  say  it  was  caused  by  a 
safelicht  held  too  close  to  the  film  or  by 
onp  that  was  not  "safe"  to  begin  with. 

But  the  uneven  greyness  in  your  film 
suggests  either  old  film  or  film  that  has 
been  stored  in  a  poor  place.  Old  film 


loses  speed,  contrast,  and  develops  grey 
after  processing,  the  grey  being  uneven 
much  as  in  this  instance.  Films  stored 
near  heat  or  in  humid  places  also  dete- 
riorate and  the  results  are  quite  similar 
to  that  of  old  film.  I  have  also  seen  film 
which  has  been  stored  in  raw  metal  con- 
tainers become  fogged  in  much  the  same 
way,  although  seldom  to  such  an  extent. 
It's  best  to  store  film  in  painted  metal 
cans,  the  film  being  wrapped  in  lintless, 
black  paper,  preferably  the  kind  made 
for  this  purpose.  Store  raw  film  in  a 
cool,  dry  place,  but  never  store  it  any 
longer  than  necessary. 

Q.  Recently  I  read  where  some  ama- 
teur consistently  used  his  three  inch 
lens  in  making  titles  in  preference  to  his 
on?  inch  lens,  thtis  gaining  better  re- 
sults. He  didn't  say  why,  and  it  has  puz- 
zled me.  Is  this  correct,  and  if  so,  why? 
— A.  N.,  Rome,  New  York. 

A.  A  good  one-inch  lens  will  give  as 
good  results  as  any  other  in  title  making 
or  any  other  photographic  purpose.  I 
use  one  regularly  in  title  making  with 
perfect  results.  It  is  my  opinion  that  the 
writer  of  the  article  to  whom  you  refer 
possessed  a  poor  grade  one-inch  lens  but 
had  a  much  better  three-inch  lens.  It  is 
no  wonder,  then,  that  his  longer  focal 
length  lens  gave  much  better  results 
than  the  less  expensive  one-inch  lens.  A 
wide  angle  lens  will  sometimes  "bend" 
or  "curve"  the  field,  but  a  normal  lens, 
if  of  reputable  make,  should  give  excel- 
lent results.  It  also  might  be  that  the 
party  referred  to  was  using  a  cheap 
erade  auxiliary  lens  with  his  one-inch 
lens  which  gave  him  inferior  results; 
but  since  the  auxiliary  lens  was  not 
needed  with  the  telephoto,  results  were 
better  with  the  latter. 

Q.  In  trying  to  make  a  map  title  re- 
cently, using  an  inexpensive  brand  of 
film,  I  found  that  the  primary  roads 
stand  out  very  sharply  whereas  the 
other  lines  are  quite  dim.  The  primary 
roads,  incidentally,  were  red  while  the 
other  lines  were  blue.  It  doesn't  look  at 
all  as  it  does  to  the  eye,  and  I  am  won- 
dering if  I  am  overexposing  the  blue 
lines  or  what? — C.  L.,  Los  Angeles,  Cal. 

A.  Much  of  the  inexpensive  reversal 
film  now  on  the  market  is  not  sensitive 
to  the  red  end  of  the  spectrum,  the  sen- 
sitivity ending  with  the  ultra  violet  and 
the  blue.  Blue  photographs  extremely 
light  on  this  type  of  film. 

•  Continued  on  Page  J  23 


REVERE  MODEL  88 
CAMERA 

is  preferred  by  experienced  photograph- 
ers who  want  movies  of  highest  quality. 
A  precision-built  mechanism  with  posi- 
tive speed  governor  control  and  high- 
ratio  duplex  shuttle  film  movement,  a 
fast  lens,  a  strong  spring  motor,  an 
automatic  film-loop  sprocket,  and  other 
advanced  features  make  the  Revere 
"88"  the  outstanding  value  in  the  8  mm. 
field.  Eastman-licensed  spool  and  spin- 
dles insure  correct  loading  of  double- 
eight  film.  5  speeds,  8.  12.  16,  24.  and  32 
frames  per  second  permit  ultra-fast, 
normal  or  slow-motion  movies,  and  add 
variety  to  your  pictures.  Complete  with 
Wollensak  F  3.5  lens   $38.50 


ij  Tin'  A'"' 


an 


The  mounting  for  the  lens  of 
each  Revere  Camera  is  espe- 
cially designed  to  insure  ab- 
solute rigidity  and  perfect 
alignment  with  she  aperture 
of  the  film  gate.  This  ad- 
vanced design,  plus  Revere's 
automatic  film-loop  .=.procket 
(which  eliminates  It  ;ing  on 
the  film  gate)  combine  to 
give  you  perfect,  sharply  fo- 
cused movies. 


CAMERA 

TAKES  SUCH  FINE  MOVIES 

The  sharpness  and  steadiness  of  Revere-made  8  mm.  movies  are  the  result 
of  advanced  design,  rigid  maintenance  of  quality,  and  high  standards  of 
precision.  Each  lens  and  each  lens  seat  in  a  Revere  Camera  is  microscopi- 
cally tested  for  accuracy,  and  the  complete  assembly  is  "custom-fitted" 
to  the  camera. 

Revere  8  mm.  Projectors  reflect  these  same  precision  standards.  Because  of 

the  economies  of  large-scale  production, 
Revere  Cameras  and  Projectors  cost  no  more 
than  equipment  which  lacks  their  modern 
features  and  fine  workmanship.  Sold  by 
leading  dealers  everywhere.  Write  for  liter- 
ature. Revere  Camera  Company,  Dept. 
3  HM,  320  E.  list  St.,  Chicago,  Illinois. 


REVERE  "80"  PROJECTOR 


Improve  the  quality  of  your  home 
movies  with  this  powerful,  smooth- 
running,  easily-threaded  8  mm.  pro. 
jector!  Its  many  advanced  features  in- 
clude heavy-duty  AC-DC  motor,  fully 
enclosed  precision  mechanism  with 
power  rewind  (no  belts  in  the  Revere), 
doable  blower  cooling  system,  radio 
interference  eliminator,  and  clutch 
for  still  projection.  Complete  with  500- 
watt  lamp,  F  1.6  lens  and  one  300-ft. 
reel   $75.00 


Revere  "85"  Projector 

Same  as  model  80.  plus  micro-tilt, 
duo-shield  light  diffuser,  beam  thread- 
ing light,  and  carrying  case.  Complete 
with  500- watt  lamp,  F  1.6  lens,  one 
300-ft.  reel,  and  case  $89  50 


Revere  "99"  Camera 

has.  in  addition  to  the  basic 
features  of  the  model  88,  an 
extra  optical  view  finder  for 
telephoto  lenses,  and  a  ro- 
tating turret  head  for  3 
screw-type  lenses,  Including 
telephoto.  Complete  with  one 
Wollensak  F2. 5  lens.  $77.50 


PAGE  96 


HOME  MOVIES  FOR  MARCH 


can  • 


ope" 


FOTOSHOP  OFFERS- 


CRAIC  16MM. 
|R.  EDITOR 

Incorporating  "action-edit- 
ing." the  new  16mm.  Jr. 
Editor  provides  a  com- 
plete outfit  in  one  compact, 
inexpensive  unit  includ- 
ing the  famous  Craig  Sr. 
Splicer.  There  is  no  flick- 
er and  action  may  be 
stopped  at  any  frame  de- 
sired. Reg.  $.31. .50.  SPE- 
CIAL for  limited  time 
only,  $22.50.  Jr.  Editor 
with  mounting  board  but 
without  splicer.  Beg. 
J22.50.  NOW  $16.95. 


S5.00  FOR  YOUR 
PRESENT  SCREEN 

Inward  the  purchase  of  a 
new  RADIANT  HYFLECT 
SCREEN.  This  special 
( ryslal  beaded  screen  en- 
ables you  to  bring  more 
life  and  sparkling  bril- 
liance to  your  movies. 
Model  D.  36"s48"'  (Tripod 
model)  S20..50.  less  our 
allowance.  $15.50.  Model 
P .  40"x 40"  ( Box  screen ) 
?14.50,  less  our  allow- 
ance, $9.50. 

Other  Sizes  Available. 

.      .  PLUS 


AND 


FREE 

FOTOSHOP  BULLETIN 


is  T2-page  Bulletir:   is  .v.urt  for  the  asking 
yours  for  best  photographic  bargains.. 

Address  orders  and  inquiries  to  Dept.  3HM. 


The  Reader 


You  Bet  We  Will! 

Reader  Schoenberg's  letter  arrived 
too  late  to  enable  us  to  grant  his  wish 
this  month,  but  thz  title  he  requests 
will  appear  in  the  April  issue. 

Gentlemen:  May  I  suggest  that  your 
staff  artist  design  a  "Remember  Pearl 
Harbor"  title  background  especially  for 
those  of  us  here  in  the  Islands  who,  in 
spite  of  seven  days  work  each  week,  cen- 
soring, etc.,  still  find  time  for  human 
interest  filming  which  is  still  permitted. 
Yours  for  a  victorious  '42! — 

— £.  V.  Schoenberg, 
Honolulu,  Hawaii. 

Got  Results 

Reader  McCracken  got  prompt  re- 
sponse to  his  plea  for  plans  of  a  wind- 
back  for  his  camera.  Home  Movies  will 
endeavor  to  publish  details  of  this  gad- 
get in  a  later  issue: 

Gentlemen:  In  the  January  issue  you 
published  my  request  for  details  of  a 
home-made  windback  for  the  8  mm. 
Filmo  camera.  Imagine  my  surprise 
when  through  the  mail  I  received  an 
answer  in  the  form  of  a  50-foot  reel  of 
8  mm.  film,  picturing  and  demonstrat- 
ing the  results  of  just  such  a  gadget. 
Film  was  sent  me  by  Gene  Gorecki,  St. 
Charles,  111.  Gorecki  has  promised  to 
send  plans  and  further  details  in  writ- 
ing. I'll  send  it  to  you  soon  as  received, 
should  you  care  to  pass  it  on  to  your 
readers. 

— /.  O.  McCracken, 
Glendalc,  Calif. 

Swapper 

]f  you  have  some  film  to  swap;  need 
some  scenes;  here's  an  opportunity  to 
swap  or  buy  what  you  need: 

Gentlemen:  I  have  some  nice  8  mm. 
black  and  white  of  Niagara  Falls,  X.  Y.; 
also  of  the  Thousand  Islands  taken  from 
the  air;  Buffalo,  N.  Y.;  and  Detroit, 
Mich.  Also  have  scenes  of  the  Thousand 
Islands  and  bridge  in  8  mm.  color,  and 
150  ft.  of  8  mm.  of  Airplane  student 
training  and  operations.  Would  hke  to 
sell  or  swap. 

— Rajj  Walling, 
Wafer/ou  n.  .V.  Y. 

About  Those  Recordings 

In  the  January  issue  we  published  O. 
W.  Amador's  letter  suggesting  that 
someone — possibly  an  advanced  amateur 
— provide  recording  service  for  ama- 
teurs who  do  not  own  recorders.  The 


S  P  E  i  K  S 


following  is  one  of  several  interesting 
letters  received  by  the  editors  as  a  re- 
sult: 

Dear  Sir:  I  have  read  with  some  inter- 
est the  letter  of  Mr.  O.  W.  Amador  of 
El  Paso,  Texas,  regarding  the  need  for 
someone  to  make  recordings  at  a  mod- 
erate cost. 

Mr.  Amador  has  touched  off  a  long 
train  of  thought  which  possibly  has  not 
entered  the  minds  of  many  who  might 
appreciate  such  service.  It  is  a  debatable 
question  as  to  what  a  moderate  cost 
would  be. 

All  we  amateurs  have  much  in  com- 
mon and  I  am  sure  each  of  us  is  willing 
to  make  his  contribution  toward  the 
sum  total  of  knowledge  of  all,  but  the 
human  element  of  selfishness  is  bound  to 
creep  in  when  the  factor  of  doing  an  ex- 
tensive job  for  a  comparative  stranger 
is  brought  forth. 

Some  of  us  in  this  area  have  done  con- 
siderable experimental  work  at  no  small 
expense  in  the  field  of  sound-on-disc  for 
amateur  film,  and  I  can  assure  you  that 
to  undertake  the  making  of  records  for 
others  involves  some  grave  responsibili- 
ties. 

To  make  recordings  for  200  feet  of 
8  mm.  film  brings  the  first  question  of 
whether  to  make  four  12 -inch  records 
to  play  at  78  r.p.m.  or  a  16-inch  and 
a  lo-inch  to  play  at  33-1  3  r.p.m.  We 
have  found  a  satisfactory  way  to  record 
20  minutes  of  sound  at  33-1  3  r.p.m. 
without  need  for  two  turntables  or  to 
stop  to  change  the  record. 

Having  determined  the  speed  of  the 
play-back  we  then  must  project  the  film 
repeatedly  to  determine  the  proper  tim- 
ing for  music  transitions  and  word  titles 
as  well  as  carefully  indicating  where  the 
break-over  from  one  record  to  the  next 
shall  come. 

There  is  need  for  understanding  that 
any  appreciable  difference  in  the  speed 
of  the  projector  or  the  turntable  when 
it  is  played  back  can  produce  a  result 
quite  unsatisfactory'  to  the  producer  of 
the  film. 

The  amount  of  money  tied  up  in  real- 
ly fine  equipment  for  doing  this  work 
is  considerable,  as  we  have  learned.  We 
are  all  of  us  here  engaged  in  business  so 
must  do  this  work  at  night;  obviously 
we  would  be  quite  unwilling  to  devote 
much  of  our  personal  time  and  take  the 
wear  and  tear  on  our  equipemnt  with- 
out some  reasonable  compensation. 

•  Continued  on  Page  122 


Gaining 

To  get  movies  that  hit  new  highs  in 
snap  and  sparkle;  that  breathe  life 
into  people,  backgrounds,  clouds,  sky, 
start  using  Hypan  Reversible  now.  This 
Agfa  Ansco  product  comes  in  8  or  16mm. 
— and  it's  ideal  for  outdoor  work.  Hypan 
Reversible  is  fast,  fine-grained  and  fully 
panchromatic.  Its  brilliant  gradation  as- 


altitude 

sures  you  of  a  pleasing  projection  quality. 
16mm.  Hypan  is  supplied .  in  100  ft. 
rolls  at  $6.40 ;  in  50  ft.  rolls  at  $3.45.  Twin- 
Eight  Hypan  is  only  $2.40  for  double- 
width  25  ft.  rolls.  Prices  include  process- 
ing and  return  postage.  Agfa  Ansco, 
Binghamton,  New  York.  100 
Years  of  American  Photography. 


Agfa  Ansco 

HYPAN 
REVERSIBLE  FILM 

MADE  IN  U.S.A. 


HOME  MOVIES 

Published  in  Hollywood 

mm  1942 


T. 


HE  last  thing  Uncle  Sam  wants  ama- 
teurs to  do  is  put  their  cameras  away  for  the 
duration!  This  reminder  comes  at  a  time  when 
movie  makers,  awed  by  the  effects  of  priorities 
on  the  manufacturing  industry  and  the  ration- 
ing of  tires  and  automobiles,  look  apprehensive- 
ly toward  the  future,  anticipating  enforced  re- 
strictions on  their  freedom  and  therefore  on  the 
opportunities  to  film  amateur  movies. 

Only  two  things  could  materially  affect  the 
making  of  amateur  movies:  a  cessation  in  the 
manufacturing  of  film  and  a  general  govern- 
mental ban  on  taking  pictures.  The  possibility 
that  manufacture  of  raw  film  will  be  restricted, 
through  diversion  or  lack  of  raw  materials,  is 
too  remote  to  warrant  further  consideration. 
Raw  film  production  is  continuing,  and  at  ac- 
celerated speed,  to  fill  the  needs  of  army  and 
navy  photographic  staffs,  not  to  mention  that 
of  Hollywood's  studios  who  have  been  given 
the  green  light  on  production  speed-up  on  the 
basis  that  motion  pictures  aid  in  maintaining 
public  morale.  And  with  civilian  moral  a  prime 
factor  in  the  nation's  defense,  it  is  obvious  that 
recreations  and  hobbies  will  continue  to  be  en- 
couraged, unhampered  by  undue  restrictions. 

As  to  a  general  government  ban  on  taking 
pictures,  this  also  may  be  dismissed.  A  great  deal 
of  fear  has  been  spread  among  movie  amateurs 
that  G  men  are  lurking  everywhere  ready  to 
pounce  upon  innocent  cinecameraists  found 
out  in  the  open  making  movies.  Naturally  there 
are  restriction  against  making  pictures  in 
and  about  harbor  areas,  airports,  army  and  na- 
val bases,  and  factories  engaged  in  defense  pro- 
duction, but  this  fact  is  so  well  known  by 
everyone  now,  that  the  average  picture  maker 


EVENING  PROLOGUE— is  title  of  ex- 
cellent sunset  picture  on  opposite  page, 
a  camera  classic  by  ).  Wm.  DuVall. 
Kansas  City,  Mo.,  selected  by  the 
editors  for  this  month's  title  back- 
ground. 


KEEP  RIGHT 
01  SHflOTliC! 


avoids  such  areas  in  his  filming  expeditions. 

There  are  still  the  wide  open  spaces  of  land 
and  sea  on  which  the  amateur  may  train  his 
camera  without  any  restrictions  whatever — city 
parks,  mountain  and  seashore  resorts,  national 
parks,  etc.  Then  there  is  one's  own  backyard 
and  garden  where  many  of  the  amateur's  films 
were  originally  made  and  which  still  offer  un- 
explored filming  opportunities.  We  have  only  to 
recall  the  many  notable  amateur  films  that  have 
been  made  with  flowers  or  garden  insects  as  the 
subject  of  interest.  Then  there  is  the  limitless 
opportunities  afforded  in  wild  life  filming  as 
borne  out  by  Richard  Cassell  whose  article  on 
filming  birds  appears  elsewhere  in  this  issue. 

While  tire  rationing  may  tend  to  restrict  ex- 
tensive travel  of  tourists  and  vacationists  this 
summer,  it  will  have  its  good  side,  too,  causing 

•  Continued  on  Page  124 


*  Movie  making  is  a 
diversified  hobby  of- 
fering a  wealth  of 
pleasure  in  the  filming 
of  small  objects,  trick 
filming,  time-lapse 
photography,  etc., 
should  war  time  re- 
strictions threaten  our 
accustomed  picture 
making  routines. 


99 


cu  Smart  Gaq  and 
Verq  Happij  Laugh 
that  Me  whole  town 
will  talkflbout^ 


•  Showing  result  of  wrong  and  right  placement  of  title  lights. 


J4ow  to  make  y.our 

tit  lei  II  LICK 


GEORGE 


W 


C    U    S    H     M    A  N 


0 


 7^  

/  s 
/  \ 


C5 


<::) 


7 


OS 


/^nX  C  YL  IND£/f 

  BLACK 


F  all  the  factors  that  go  together  to 
make  successful  titles,  perhaps  the  least  under- 
stood is  that  of  lighting.  The  result  has  been 
under-  or  over-exposure  and  more  frequently, 
unevenness  in  density  of  the  background.  Many 
an  amateur  has  lettered  his  titles  with  white  ink 
on  carefully  chosen  black  paper,  exposed  them 
on  reversal  film,  and  then  upon  examining  the 
completed  titles,  was  painfully  disappointed  in 
the  results — washed-out  grey  backgrounds  in- 
stead of  the  deep  velvety  black  expected. 

Fig.  I  shows  the  type  of  title  resulting  from 
improper  placement  of  lights.  Use  of  wrong  pa- 
per for  title  cards  also  contributed  to  the  result 
— vertical  streaks  of  highlight  at  either  side, 
plus  overall  lack  of  density  in  background.  Fig. 
2  shows  result  where  the  right  title  card  stock 


•  Fig.  3  shows  proper  placement  of  lights  to 
avoid  reflections  causing  highlights  in  title.  Fig. 
4  illustrates  camera  set  used  in  making  tests 
pictured  in  Fig.  5,  showing  reflective  qualities 
of  various  "black"  paper  stocks  commonly  used 
for  cine  titles. 


was  used  and  lights  placed  at  right  angle  in  or- 
der not  to  reflect  light  back  into  camera  lens. 

Obviously  two  factors,  instead  of  one,  affect 
results  of  good  lighting  of  titles — the  lights  and 
the  title  card  stock.  Let  us  first  discuss  the 
lights,  or  more  important,  their  arrangement 
before  the  title  card.  The  diagram  in  Fig.  3 
shows  two  photofloods  in  reflectors  properly 
placed  for  maximum  even  illumination  of  title 
card  with  a  minimum  of  reflection.  Lights 
should  be  placed  back  far  enough  from  the  title 
so  there  is  an  even  spread  of  light  over  the  title 
and  no  "hot"  spots  which  tend  toward  the  re- 
sult shown  in  Fig.  i.  Such  hot  spots  are  almost 
impossible  to  detect  with  the  eye  unless  a  reflec- 
tive type  of  paper  is  placed  temporarily  in  the 
titler  as  a  means  for  checking  for  this  condi- 
tion when  positioning  the  lights  preparatory  to 
shooting. 

A  rule  often  employed  is  to  place  lights  twice 
the  distance  from  title  as  the  title  width.  Thus 
if  title  is  12  inches  wide,  lights  would  be  placed 
24  inches  away.  If  the  resulting  titles  appear 
lighter  on  the  sides  than  in  the  center,  moving 
lights  further  away  and  increasing  exposure 
proportionately  should  remedy  the  trouble. 

Brightness  at  the  sides  may  not  always  be 
caused  by  reflection.  In  Fig.  i  the  lights  may 
have  been  far  enough  away  from  the  title  but 
too  near  the  center  line  (se?  X-Y,  Fig.  3),  caus- 
ing title  card  to  reflect  the  light  back  into  the 
lens.  By  moving  lights  further  away  from  the 
center  line,  the  angle  of  reflection  increases  (de- 
noted by  dotted  lines,  Fig.  3 )  ultimately  missing 
the  lens  altogether. 

In  short,  the  lights  should  be  placed  as  far 
•  Continued  on  Page  121 


HOME  MOVIES  FOR  MARCH 


HE  honor  of  "The  Movie  of  the 
Month"  accorded  my  film,  "Hummingbirds," 
in  October  1939,  gave  impetus  to  my  hobby- 
within-a-hobby,  that  of  filming  birds.  Since 
that  time  I  have  become  a  confirmed  cine-orni- 
thologist special. zing  in  the  filming  of  16  mm. 
Kodachrome  movies  of  bird  life  native  to  South- 
ern California. 

I'm  sure  that  many  movie  amateurs,  at  loss 
for  incentive  to  keep  their  cameras  busy,  have 
overlooked  this  field  of  cinematography  that  is 
so  rich  in  rewards  and  abundant  with  that  vi- 


nmu  BIRDS 


talizing  something  filming  afield  brings  to  a 
man's  soul  and  his  health. 

Birds  of  any  species  are  always  interesting 
screen  fare  because  we  seldom  have  opportunity 
to  study  them  at  close  range.  But  the  cine  cam- 
era easily  bridges  the  gap  between  casual  ob- 
servation and  the  thoroughly  enjoyable  study  of 
birds  on  the  movie  screen.  Successful  filming  of 
bird  life  will  not  come  easy,  if  at  all,  to  the  mo- 
vie amateur  with  an  ordinary  cine  camera.  This 
is  one  of  several  subjects  which  calls  for  use  of 
good  telephoto  lenses — not  one,  but  several.  It 
means  an  additional  expenditure  for  equipment 
probably  exceeding  original  cost  of  the  camera. 
But  it  will  be  well  worth  it  once  the  cameraist 
appreciates  the  new  frontiers  thus  opened  to  his 
camera  and  his  movie  making  hobby. 

Most  people  have  hobbies  and  nearly  all  hob- 
bies require  expenditure  of  money.  If  we  will 
but  consider  the  expenses  incurred  in  the  activi- 
ties of  avid  bowling  enthusiasts,  the  skeet  shoot- 
er, the  yachtsman  and  golfer,  we  must  concede 
that  making  movies  —  even  exclusively  with 


a 


kobb 


¥ 


witkin  a  kobb^! 


B  y 


Kodachrome — is  cheap  by  comparison.  It  is  con- 
soling, therefore,  to  those  of  us  who  invest  in 
good  camera  equipment,  to  know  that  in  the 
long  run  we  really  are  farther  ahead,  get  more 
for  our  money.  And  keep  this  point  in  mind 
should  the  lady  of  the  house  voice  an  objection 
when  you  propose  an  investment  in  telephoto 
lenses! 

To  the  ornithologist,  any  motion  picture  of 
birds  might  be  quite  acceptable  and  received 
with  enthusiasm.  But  home  audiences  are  not  al- 
ways so  easily  pleased.  Very  often  most  of  the 
people  who  view  our  films  are  semi-experts  in 
photography  but  casual  observers  of  birds.  Their 

•  Continued  on  Va^e  1 1 4 


•  Pictured  are  scenes 
from  nature-study 
films  produced  by 
Richard  Cassell  who 
confesses  a  dual  hobby 
of  cine-ornithologist. 
In  his  article  are  many 
tips  on  this  faiscinating 
field  of  movie  making. 


•  Plan  for  easy-to-build  stage  for  miniature  and  trick  shots.  Adaptable  also  for  title  making. 


J4ow  to  build  a  Hag,e 

lor  TRICK  FIIMIK 


B  y 


Fig.  3 


II, 


,Jf  my  remarks  last  month  have  whet- 
ted the  reader's  appetite  for  tackUng  trick  work 
with  his  ordinary  cine  camera,  then  he  will  not 
begrudge  the  labor  involved  in  constructing  the 
special  piece  of  apparatus  which  will  make  these 
trick  shots  not  only  possible,  but  simple  to  car- 
ry out.  For  want  of  a  better  term,  I  shall  call  it 
"The  Frame,"  for  it  is  a  framework  which  sup- 
ports the  camera  and  the  gadgets  which  go 
with  it  for  making  the  many  types  of  trick  shots 
I  hope  to  describe  in  later  articles.  The  reader 
will  soon  see  that  it  is  a  most  useful  "Maid  of 
All  Work."  It  takes  the  place  of  the  visual  gate 
focussing  to  be  found  only  on  the  most  expen- 

Fig.4 


sive  cameras;  it  simplifies  the  making  of  masks, 
and  functions  as  an  effects  box  for  using  them; 
it  provides  a  table-top  on  which  to  build  fore- 
ground models  and  miniature  sets;  and  when 
one  tires  of  all  this,  it  will  always  give  good 
service  as  a  titler. 

Details  of  construction  should  be  fairly  ob- 
vious from  the  sketches  and  photographs.  The 
dimensions  given  are  for  i6mm.  film  and  a 
one-inch  focus  lens  in  the  camera,  but  as  dif- 
ferent makes  vary  slightly,  exact  sizes  should 
be  worked  out  for  the  reader's  own  particular 
camera.  All  that  is  necessary  is  for  the  reader  to 
check  up  on  the  field  of  view,  using  one  of  the 
many  methods  which  have  been  described  in 
these  pages.  The  openings  in  the  three  stages  of 
the  "Frame"  should  be  made  slightly  larger  than 
the  field  of  view  at  each  point.  Good,  sound, 
straight  grained  wood  should  be  used  in  the 
framing,  and  it  is  worth  while  making  mortise 
and  tenon  joints,  although  there  are  a  couple  of 
dozen  or  so  of  them.  The  frame  must  be  quite 
rigid  and  free  from  distortion. 

The  camera  is  mounted  at  one  end  by  insert- 
ing a  y/',  zo  thread  bolt  through  a  hole  in  the 
baseboard  and  into  the  tripod  bushing.  It  is 
screwed  home  and  the  wing  nut  tightened  up 
against  the  baseboard  as  shown  in  Fig.  2.  Strips 

•  Continued  on  Page  112 

Fig.  5 


HOME  MOVIES  FOR  MARCH 


•  Marine  shots  on  this  page  illustrate  re- 
sults obtainable  with  three  types  of  film: 
Super-pan  and  a  filter  made  possible  fine 
details  in  ship,  water,  sky  and  clouds  in 
Fig.  1.  Regular  Pan  was  used  in  making 
Fig.  2.  Note  slight  cloud  detail  in  sky  plus 
that  of  distant  structure  in  background. 
Orthochromatic  film  was  used  for  Fig.  3, 
netting  a  grey-white  sky  in  spite  of 
clouds  exiiSting  at  time  picture  was  made. 


H 


[AVING  become  familiar  with  our 
camera  and  its  lens  through  the  discussions 
which  comprised  lessons  i  and  2  (see  January 
and  February  issues),  we  are  now  ready  to  take 
up  the  subject  of  film.  The  types  of  film  for 
amateur  use  are  negative,  reversal,  and  positive. 
Both  negative  and  black  and  white  reversal  film 
is  available  in  a  number  of  types,  i.  e.,  a  variety 
of  emulsions  —  orthochromatic,  panchromatic, 
and  super-  (supersensitive)  panchromatic. 

In  each  instance  the  base  of  the  film  is  the 
same — a  ribbon  of  clear  acetate  film  perforated 
to  fit  the  sprocket  holes  of  an  8  mm.  or  i6  mm. 
camera.  It  is  the  emulsion  applied  to  this  film 
by  the  manufacturer  that  determines  the  qual- 
ity of  photographic  image  it  will  produce  and 
therefore  the  type  of  photography  for  which  it 


i 


%Vkat  the  beg.inner  ^Itould  know 


is  best  suited.  It  is  said  of  these  emulsions  that 
some  are  faster  than  the  others,  that  is,  one 
emulsion  will  record  an  image  with  much  less 
exposure  than  another.  Also,  some  emulsions 
have  an  inherent  quality  which  enables  them  to 
record  a  wider  range  of  color  graduations.  These 
emulsions  are  termed  panchromatic. 

Negative  film,  the  first  in  the  group  men- 
tioned above,  is  rarely  used  by  the  beginning 
amateur  and  not  frequently  by  the  advanced 
cinefilmer.  The  use  of  negative  film  involves 
added  expense  in  that  before  a  screenable  pic- 
ture is  to  be  had,  another  film,  positive,  is  nec- 
essary in  order  to  obtain  a  print  that  may  be 
projected.  Negative  film  records  pictures  just 


about 


STANLEY 


E  . 


as  does  a  roll  of  negative  film  in  a  still  camera. 
It  is  developed  in  a  similar  manner  and  then 
prints  are  made  of  it.  It  is  commonly  used  in 
commercial  substandard  film  production  where 
several  copies  of  the  production  are  desired. 
The  advantages  of  this  negative-positive  sys- 

•  Continued  on  Page  ii6 


AND 


Fig.  3 


Treacy      Fig.  2 


•  Above  is  a  pictur- 
ized  review  of  "Snap 
Happy,"  the  Movie  of 
the  Month.  All  en- 
largements are  from 
original  frames  of 
16mm.  Kodachrome. 


104 


the  MOITH 


II 


ID  you  ever  send  away  for  packages 
of  needles,  bluing,  lotions  or  salves,  then  spend 
endless  days  in  an  effort  to  peddle  them  from 
house  to  house  to  neighbors  in  order  to  "win" 
an  air  rifle,  a  doll,  or  perhaps  a  camera?  If  you 
number  such  an  experience  among  your  child- 
hood adventures,  then  you  certainly  would  ap- 
preciate the  plot  of  "Snap  Happy,"  the  Movie 
of  the  Month. 

"Snap  Happy"  is  a  700-foot  i6mm.  Koda- 
chrome movie,  the  third  pretentious  production 
in  little  over  a  year  by  that  prolific  amateur 
movie  maker,  Ted  Geurts  of  Salt  Lake  City.  It 


is  a  genuine  home  movie.  It  not  only  has  a  swell 
plot,  but  it  was  conceived  and  filmed  to  in- 
clude all  members  of  the  Geurts  family,  many 
neighbors  and  their  kiddies,  and  shots  of  nearby 
picturesque  spots  that  amateurs  of  much  lesser 
ability  might  film  and  screen  as  straight  scenics. 
Geurts  wrote  a  story  that  would  enable  him  to 
present  all  of  the  ordinary  subjects  of  amateur 
filming  in  an  original  and  unique  manner,  then 
gathered  his  family  together  for  shooting  ses- 
sions indoors  and  out  that  must  have  been  more 
fun  than  a  picnic — even  those  picnics  they  in- 
dulged when  out  on  location,  filming  the  se- 
quences of  scenic  shots  that  are  an  unforgettable 
highlight  of  the  picture. 

The  plot  concerns  a  husband  who,  much  to 
his  wife's  annoyance,  is  daffy  over  photography. 
Through  a  sly  trick  engineered  by  his  wife,  pic- 
tures made  by  their  little  daughter  with  a  cam- 
era obtained  as  a  premium  for  selling  lotion 
from  house  to  house,  are  made  to  appear  better 
than  those  from  her  husband's  expensive  cam- 
era. This  results  in  the  husband  disposing  of  all 
his  fine  equipment  and  then  selling  lotion  to  get 
a  camera  just  like  daughter's. 

The  picture  begins  with  the  little  daughter 
starting  out  with  several  jars  of  "Lucky  Lily" 
lotion  and  disposing  of  them  to  neighbors.  Re- 

•  Continued  on  Page  119 


-.THROUGH  THE 
RUSTLING  WCX^ 

LETS  WANDER. 


•  Title  from  "Good  Shots" 


•  Scene  from  "Western  Trip,  1940" 


J^ew  l)ilming,  idea^  for  everyone  in 


HE  "double  value"  of  Home  Movies' 
film  reviewing  service  is  a  recognized  source 
of  new  ideas  and  filming  pitfalls  to  be  avoided 
by  the  amateur.  In  the  personal  review  sent  to 
the  filmer  and  the  published  critique  in  the  mag- 
azine, readers  of  Home  Movies  gain  the  bene- 
fit of  group  experience  as  the  editors  sit  in  con- 
sultation on  the  picture  sent  in  for  review. 

In  addition  to  the  detailed  criticism  sent  by 
mail,  the  film  is  returned  with  a  one-,  two-,  or 
three-star  animated  leader,  awarded  on  the  basis 
of  the  editors'  evaluation  of  the  production. 
Send  in  your  film  for  review  and  gain  the  bene- 
fit of  this  free  service,  besides  helping  others 
who  may  read  of  your  good  ideas  or  avoidable 
mistakes. 

Following  are  reviews  of  three  of  the  many 
home  movies  reviewed  during  February: 


"Bcttas" 

200  Ft.  16  mm.  Koda. 


By  J.  L. 


A  picture  of  breeding  procedure  with  tropi- 
cal fish,  this  subject  was  made  to  ord€r  for  color 
movies.  The  male  fish  was  a  spectacular  creature 
of  blue  and  his  mate  was  pink. 

CoHtinnity:  Filmer  set  about  to  produce  a 
technically  correct  document  acceptable  as  well 
to  the  general  public.  He  succeeded  admirably 
Picture  opens  with  close-ups  of  preparation  of 
the  fish  tank:  cleaning  gravel,  adding  plant  life 
to  clean  water  of  correct  temperature,  etc.  A 
sequence  then  explains  that  the  fish,  a  tropical 
breed  native  to  Siam,  require  water  of  slight 
acidity;  chemicals  for  testing  are  shown.  Suc- 
ceeding sequences  are  close-ups  of  the  piscato- 
rial mates.  At  first  the  two  are  separated  in  the 
same  tank  by  a  piece  of  glass  until  they  become 
accustomed  to  each  other.  Later,  the  male  pre- 
pares a  "bubble  bed,"  gelatinous  globules  that 
cling  together  in  a  blanket  on  top  of  the  water. 
Soon  the  male  encircles  the  languorous,  almost 
inert  body  of  the  female  in  the  Betta  mating 
act.  As  the  female  emits  eggs,  the  male  swings 


105 


mon 


B  y 


into  action  and  herds  the  eggs  up  into  the  bub- 
ble bed.  This  goes  on  until  the  female  has  pro- 
duced 200-500  eggs.  In  40  hours  the  t!ny  fish  are 
hatched  and  carry  around  a  yolk  sac  until  big 
enough  to  go  it  alone.  The  final  shot  shows  a 
tankful  of  hungry,  active 
pink  and  blue  Bettas  of  the 
adolescent  age. 

Photography:  Splendidly 
done  to  bring  into  sharp 
close-up  the  actions  of  the 
fish.  Filmer  used  a  10"  x 
12"  glass  aquarium  with 
two  No.  2  photofloods 
placed  at  angles  of  3  5  de- 
grees and  12  inches  away 
from  tank.  A  2^2"  Kodak 
lens,  racked  out  beyond 
focusing  scale,  was  utilized 
in  a  telephoto  manner. 
Added  interest  would  have 
been  given  by  filming  the 
mating  act  in  slow  motion, 
to  permit  full  observation 
of  the  eggs  and  the  male 
herding  them  up  to  the 
bubble  bed.  Three  months 
were  required  to  complete 
•  Continued  on  Page  120 


•  Two  frame  enlarge- 
ments  from  the 
16  mm.  Kodachrome 
film,  "Bettas"  pictur- 
ing tropical  fish  breed- 
ing. 


PACE  106 


HOME  MOVIES  FOR  MARCH 


Film  CoUectoi 

If  you  have  a  splicer  of  the  average 
type,  the  film  cuttings  accumulate  in  a 
pile  beneath  the  splicer  and  frequently 
are  scattered  on  the  floor  when  splicer  is 
put  away.  To  avoid  this,  mount  splicer 
on  a  small  panel  of  plywood.  Bend  a 
piece  of  light  metal  to  form  a  shallow 
pan,  as  shown  in  photo.  Cut  an  opening 
at  one  side  of  the  plywood  splicer  base 
to  take  the  pan. 

Pan  collects  the  film  clippings  nad 
may  be  removed  easily  for  emptying. 
Where  splicer  is  mounted  on  editing 
board,  the  plywood  base  may  still  be  in- 
stalled to  provide  this  film  collecting 
feature. 

— John  J.  Lloyd, 
Long  Beach,  Calif. 

Developing  Tank 

Here's  an  idea  for  a  film  developing 
tank  that  won't  be  affected  by  priori- 
ties! I  found  that  discarded  flourescent 
lighting  tubes  4  feet  in  length  make  ex- 
cellent developing  tanks  for  home  movie 
titles.  Such  tubes  are  to  be  had  from 
electrical  houses  who  supply  and  service 
flourescent  lighting.  The  tubes  have  an 
inside  diameter  of  approx'.mately  i  Y/' 


IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  ti- 
tling, editing  or  processing  home 
movies,  pcsz  it  on  to  your  fellow 
cinebugs  through  these  columns,  if 
your  idea  is  published  you  will  re- 
ceive two  reels  for  your  efforts.  Ex- 
traordinary ideas  will  net  you  a  roll 
of  film. 

Ideas  not  published  will  be  held 
for  future  publications  unless  they 
duplicate  ideas  previously  received. 
Endeavor  also  to  send  along  photos 
or  rough  sketches  illustrating  your 
suggestions.  There  is  no  limit  to 
number  of  suggestions  you  may  sub- 
mit. 

Important:  When  submitting  ideas, 
be  sure  to  mention  whether  equip- 
ment you  use  is  8  mm.  or  16  mm., 
enabling  us  to  promptly  forward 
awards  adaptable  to  your  use. 


THE  EXPERlMnTlL 


which  is  adequate  for  a  strip  of  16  mm. 
film  plus  the  film  support  described 
here,  and  will  hold  1-1/ 3  quarts  of  so- 
lution. 

One  end  of  the  tube  is  cut  off  by 
scratching  a  deep  line  into  the  surface 
with  a  sharp  three-cornered  file,  then 
tapping  the  end  gently  with  the  file  or 
other  object.  Any  uneveness  of  edge 
may  be  smoothed  off  on  a  grindstone. 

As  a  support  for  the  film,  a  piece  of 
y^"  wood  dowling  48"  long  is  used. 
Film  is  attached  at  the  bottom  end  with 
a  thumb  tack  and  at  the  top  by  thread- 
ing a  rubber  band  through  a  sprocket 
hole  and  hooking  rubber  band  to  a 
thumb  tack  thrust  into  top  of  the  dowl. 
This  assembly  is  inserted  into  the  tub; 


RUBBSR  aUND 
THUMB,  TACK 


n  UORESCENT 
TUBE   ^ 


FILM  SUPPORT - 


filled  with  solution.  The  dowl,  protrud- 
ing a  few  inches  from  top  of  tube  pro- 
vides means  for  agitating  film  during 
the  developing  process.  This  arrange- 
ment will  take  care  of  a  3  ^-foot  length 
of  either  8  mm.  or  16  mm.  film  or  a  7- 
foot  length  if  the  film  is  doubled  and 
returned  on  opposite  side  of  dowl. 

More  than  one  tube,  of  course,  must 
be  provided  for  the  complete  develop- 
ment or  reversal  process:  one  for  devel- 
oper, one  for  hypo  or  fixing  bath,  and 
one  for  wash  or  rinse. 

— L.  E.  Rinker, 
Portland,  Ore. 

Scroll  Titler 

Scroll  or  continuous  titles  can  be 
made  with  any  typewriter  titler,  and 
without  an  elaborate  scroll  device,  by 
employing  one  of  the  front  wheels  of 
an  automobile  for  moving  the  title  back 
of  the  title  card  holder  as  illustrated. 

Front  wheel  of  car  is  jacked  up  and 
turned  out  free  of  fender.  Scroll  title  is 
glued  at  either  end  to  tire  and  with  ex- 


treme care  to  insure  aigainst  wrinkling. 
The  stouter  the  paper  stock  used  for  this 
the  better. 

Titler  is  then  placed  on  a  wooden  box 


SCROLL  TITLE,  GLUED  TO 
TIRE  AT  EITHER  ENO, 

JUST  CLEARS  BACK 
,  Of  TITLE  EASLE 


/ 

WHEEL  JACK 


BOX 


or  other  support  and  arranged  so  scroll 
title  moves  freely  just  as  close  to  title 
card  holder  as  possible.  After  starting 
the  camera  and  holding  it  on  first  part 
of  title  as  long  as  required,  wheel  is 
turned  slowly  and  evenly  to  move  title 
from  bottom  to  top  until  last  line  of 
title  text  is  within  the  title  frame. 

— Owen  Wilson, 
Clinton,  Mich. 

Auxiliary  Lens  Holder 

A  simple  auxiliary  lens  holder  for  ti- 
tling and  ultra-closeup  photography 
may  be  made  in  a  jiffy  with  a  small  piece 
of  wire.  Wire  is  bent  to  fit  snugly  over 
camera  lens  barrel  then  turned  at  either 
end,  as  shown  in  sketch,  to  form  clips 
which  hold  the  auxiliary  lens. 

Care  must  be  taken  in  forming  clips 
to  make  sure  they  are  of  proper  size  to 
hold  auxiliary  exactly  centered  in  front 
of  camera  lens.  Any  deviation  from  cen- 
ter beyond  an  eight  of  an  inch  will 
throw  the  picture  or  title  off  center; 


CAMEKA  l£H/S 
AUXILIARY  LENS  \ 


EXACTLY  /2  DIAM. 

OF  AUX.  LENS 


may  cause  distortion  in  the  image  pho- 
tographed. 

This  holder  may  be  snapped  over 
camera  lens  as  needed  and  is  particular- 
ly useful  when  camera  is  to  be  used  for 
closeup  work  in  the  field. 

— £.  B.  Haherson, 
Jamestown,  N.  Y. 


HOME  MOVIES  FOR  MARCH 


PAGE  107 


n  I  E  WORKSHOP 


SOCKETS 


'PIPE  STAND 


7a'P/P£  SECTIONS 


QMS  tN  PLACE  OF 
H/NC£5 


BIRD  CAGE  BASE 


Suitcase  Light  Unit 

A  handy  indoor  lighting  unit,  adapt- 
able where  lights  rriust  frequently  be 
carried  from  one  location  to  another, 
can  be  made  from  an  ordinary  suitcase, 
plus  a  few  odds  and  ends  usually  to  be 
had  in  one's  garage  junk  pile. 

The  completed  unit  is  illustrated  and 
consists  of  the  suitcase  lined  with  alum- 
inum foil  or  tin,  with  four  light  sockets 
affixed  to  inside  frame,  as  shown.  These 
are  wired  together  and  the  wiring  sta- 
pled to  the  frame,  emerging  from  the 
case  at  the  bottom  and  finished  with 
connecting  plug. 

A  small  pipe  flange  is  attached  to  bot- 
tom side  of  case  to  take  a  length  of  " 
pipe — really  two  sections  joined  togeth- 
er with  a  pipe  union.  For  a  base  I  used 
the  base  of  an  old  birdcage  stand  and 
threaded  it  to  take  the  Y^"  pipe.  The  en- 
tire unit — stand  and  all — can  be  taken 
apart  and  packed  in  the  s.uit  case  for 
easy  carrying  as  shown. 

Pins  in  hinges  of  suitcase  lid  have 
been  replaced  with  removable  pins  so 
that  lid  may  be  completely  detached 
when  this  suitcase  reflector  is  assem- 
bled for  use. 

— P.  F.  McDonald, 
Chicago,  III. 

Foi  Pre-focusing 

A  method  for  unobtrusively  pre-fo- 
cusing the  projector  lens  so  the  first  part 
of  one's  pictures  will  be  sharply  focused, 
involves  making  a  special  leader  with 
a  titler. 

In  the  upper  right  hand  corner  of  a 
plain  white  title  card  I  made  a  black  dot 
about  '/j  "  iri  diameter.  I  exposed  this 
card  in  my  titler  using  positive  film. 
The  developed  film  gave  me  a  leader 


with  a  white  dot  in  upper  right  hand 
corner  in  each  frame.  Spliced  ahead  of 
the  opening  title  on  my  films,  this  pre- 
focusing  leader  enables  me  to  start  pro- 
jector and  set  my  focus  by  it.  I  found 
this  much  less  disconcerting  than  when 
elaborately  patterned  focusing  strips  are 
used. 

—Mark  V.  Ruda, 
Rochester,  N.  Y. 

Needle  Holder 

During  the  construction  of  a  set  of 
turntables,  a  convenient  dual  receptacle 
for  new  and  used  phonograph  needles 
was  made  from  one  of  the  small  alumi- 
num cans  provided  by  Agfa  for  35  mm. 
film  strips,  as  pictured  here. 

A  hole  was  drilled  in  bottom  of  the 
can  large  enough  to  allow  used  needles 
to  pass  through.  A  wooden  plug  was  fit- 
ted into  the  opening  which  also  fitted 
loosely  into  opening  of  top  section,  thus 
providing  a  divider  separating  the  can 
into  two  sections — one  holding  used  and 
the  other  unused  needles. 

The  revamped  can  is  inserted  in  in- 


tlSED  NEEDLES  HERE 


-WOOD  PLUG 


RECEPTACLE  FOR 
NEW  NEEDLES 


verted  position  into  a  hole  drilled  in 
turntable  panel,  with  the  used  needle 
section  at  top.  To  get  at  new  needle 
supply,  top  section  is  merely  lifted  and 
replaced  again. 

— A.  T.  Phillips, 
Massilon,  Ohio 

Reel  Retainer 

I  have  owned  several  low-priced 
8  mm.  projectors  and  have  found  that 
the  spring  clips  on  reel  spindles  invari- 
ably weaken  and  fail  to  hold  reels  se- 
curely. After  resorting  to  various  reme- 
dial measures,  I  found  a  small  rubber 
grommet,  slipped  over  the  spindle  after 
mounting  the  reel,  held  the  reel  in  place 
and  was  readily  removable. 

Such  rubber  grommets  are  available 
from  electrical  or  radio  supply  stores 
in  a  number  of  sizes. 

— D.  J.  Henninger, 
Tiffin,  Ohio. 


g.adg.et^y  tricks 
^kortcut^  contri' 
bated  by.  Cinebug.^ 


NEW  SPEED 

AROUND 

/'k  Z2F.P.5. 

X 

t 

48 

Added  Speed 

The  Keystone  8  mm.  camera  provides 
for  speeds  of  12,  16,  and  48  frames  per 
second.  I  have  found  that  by  placing  the 
indicator  midway  between  16  and  12,  I 
obtain  an  additional  speed — about  32 
frames  per  secnd. 

— Ray  A.  Klinge, 
Van  Niiys,  Calif. 

Pilot  Light 

An  old  discarded  6-L-6  metal  radio 
tube  can  be  utilized  in  making  a  com- 
pact pilot  light  for  one's  movie  projec- 
tor, as  pictured  here.  Tube  is  cut  with 
a  hack  saw,  according  to  Fig.  i  and  fin- 
ished with  a  file.  Hole  is  drilled  at  top 
•  Contitiued  on  Page  123 


ON  OFF  KNOB 


FIS.2  -  CUr-AWAV  View 


PAGE  108 


HOME  MOVIES  FOR  MARCH 


se*  m  to 


me 


f 


By  CiNEBUG  Shopper 


New  Kodascope 


Boasting  lo  outstanding  features  is 
Eastman's  new  model  Sixteen- lo  i6mm. 
projector  now  being  demonstrated  by 
dealers  and  Eastman  Kodak  Stores  from 
coast  to  coast.  With  retail  price  set  in 
the  neighborhood  of  $80.00,  this  attrac- 
tive streamlined  projector  features  a 
choice  of  five  lenses;  a  novel  pull-down 
claw  arrangement  that  permits  screen- 
ing sound  as  well  as  silent  films;  new 
type  lamphouse  providing  adequate  ven- 
tilation regardless  whether  400-watt  or 
looo-watt  lamps  are  used;  choice  of 
four  projection  lamps:  400,  500,  750, 
and  1000  watts;  reflecting  mirror  of  ' 
coated  metal;  special  improved  lubrica- 
tion system  that  provides  but  three 
points  for  oiling  yet  assures  adequate  oil 
to  all  vital  moving  parts.  All  major 
bearings  are  self-lubricating. 

An  improved  safety  shutter,  auto- 
matic in  operation  moves  into  the  light 
beam  between  film  and  lamp  should 
projector  speed  slow  down  to  point 
where  blistering  of  film  might  otherwise 
result.  Other  improvements  include  im- 
proved film  gate,  framing  and  rewind 
control  assembly,  convenient  motor 
speed  control,  lateral  adjustment  of  pro- 
jection lamp  socket  for  alignment  of 
filament,  and  centrally  located  tilting 
knob. 

Lighting  Data 

Cinefilmers  interested  in  indoor  light- 
ing equipment  will  find  valuable  infor- 
mation in  a  new  booklet  now  being  dis- 
tributed by  the  manufacturers  of  Victor 
photographic  lighting  equipment.  Not 
only  are  all  units  of  flood  and  spot  light- 


ing equipment  illustrated  and  described 
but  the  uses  of  many  are  explained  in 
charts  and  illustrations.  A  chart  of  ex- 
posure figures  is  also  given,  completing 
this  helpful  handbook  for  the  amateur 
on  indoor  lighting. 

For  free  copy  write  to  Jas.  H.  Smith 
&  Sons  Corp.,  Lake  and  Colfax  Sts., 
Griffith,  Ind. 

Combination  Printer 

Movie  amateurs  seeking  an  efficient 
printer  for  cine  films,  will  be  interested 
in  the  combination  8mm.- 1 6mm.  print- 
er now  being  manufactured  by  Mac  Van 
Mfg.  Co.,  San  Diego,  Calif. 

Following  are  some  of  the  features 
not  ordinarily  found  in  other  printers, 
according  to  the  manufacturer: 

A  film  viewer  which  permits  viewing 
and  adjusting  intensity  of  printing  light 
without  necessity  of  tests;  quick  change- 
over from  8mm.  to  i6mm.;  adjustable 
take-up  tension  with  dual  take-ups — 
one  for  each  size  film;  uses  regular  house 
current  for  printing  lamp,  and  provides 
special  means  to  eliminate  current  cycle 
fluctuation;  adjustable  scanning  slit; 
and  filter  slot  for  use  in  duplicating  Ko- 
dachrome. 

For  further  information,  write  the 
manufacturer  at  3829  El  Cajon  Blvd., 
San  Diego,  Calif. 

i.ow  Cost  Titler 

Designed  especially  for  Cine  Kodak, 
Keystone,  Filmo,  Revere  and  Univex 
8mm.  cameras,  is  the  Fotos  Titler  for 
use  with  typewritten  or  small  printed 
or  handlettered  title  cards.  Constructed 
of  metal,  it  is  nevertheless  light  in 
weight  and  simple  to  use.  Fotos  Titlers 
sell  for  S2.39  and  are  available  from  the 
Fotoshop,  Inc.,  18  East  42nd  St.,  N.  Y. 
City. 

Foto  Tints 

In  order  to  make  it  possible  for  any 
darkroom  fan  to  test  for  himself  and 
personally  become  acquainted  with  Fo- 
toTints  for  tinting  movie  scenes,  blacky 
and-white  titles  for  splicing  into  color 
reels,  and  35mm.  slides,  Mansfield  is  now 
offering,  for  a  limited  time  only,  a  spe- 
cial introductory  trial-size  of  FotoTint. 

Trial-size  FotoTints  come  in  gelatin 
capsules  containing  sufficient  FotoTint 
to  color  100  feet  of  movie  film.  All  the 
user  needs  to  do  is  to  empty  the  con- 
tents of  a  capsule  into  water,  immerse 


film  in  tinting  solution  for  a  couple  of 
minutes,  rinse  and  dry  the  film. 

Six  trial-size  capsules,  one  each  of 
Sapphire  Blue,  Amber  Brown,  Emerald 
Green,  Royal  Purple,  Fire  Red  and  Sun- 
lit Yellow,  all  for  25c,  are  obtainable  by 
writing  to  the  Mansfield  Photo  Research 
Laboratories,  701  S.  La  Salle  St.,  Chica- 
go,  111. 

Movie  Labels 

For  the  movie  amateur  who  dotes  on 
neatness,  there's  a  decalcomania  transfer 
now  on  the  market  for  uniform  label- 
ing of  reels  and  humidors.  Space  for 
writing  in  title,  name  of  owner,  and 
other  data  is  provided.  The  transfers, 
tradenamed  "Bico  Perma  Movie  Labels," 
are  readily  applied  to  surface  of  reel  or 
humidor  by  immersing  in  water  then 
placing  in  desired  position.  When  back- 
ing is  removed,  a  neat  and  permanent  la- 
bel results.  Labels  are  numbered  in  pairs 
— one  for  reel  and  one  for  humidor. 

Booklets  of  12  labels  sells  for  20c  and 
are  available  from  L.  R.  Biber  Co., 
Times  Bldg.,  Times  Square,  N.  Y.  City. 

Film  Chests 

Something  new  in  storage  cabinets 
for  8mm.  and  i6mm.  reels  are  the  hand- 
some wood  Film  Chests  recently  intro- 
duced by  The  Nega-File  Co.,  Easton, 
Penna.  Made  of  attractive  quarter-sawed 
sycamore  and  presented  in  natural  glossy 
finish,  each  cabinet  is  complete  with 
brass  plated  hardware  consisting  of  han- 
dle, lock  and  key,  and  lid  stay.  Solid 
wood  partitions  divide  reels  and  cans 
and  felt  pads  hold  them  snugly  to  pre- 
vent rattling. 

Film  Chests  are  available  in  two  sizes 
for  8mm.  films  —  one  for  200'  reels 
priced  at  S2.95  and  one  for  300'  reels 
priced  at  $3.25.  Chest  for  400'  i6mm. 
reels  lists  for  $3.75.  All  chests  are  8  reel 
capacity. 


Ries  Tripod  Head 


Said  to  be  the  finest  accessory  of  its 
kind  is  the  new  Ries  Photoplane  Swing 
Head  for  tripods  which  may  be  used 
with  either  8,  16,  or  35mm.  cameras.  It 
is  designed  to  swing,  tilt,  and  lock  in 
any  position,  and  special  construction 
plus  the  finest  of  materials  insure  velvet- 
smooth  panning  and  tilting  action.  An 


HOME  MOVIES  FOR  MARCH 


PAGE  109 


The  "Badge" 
of  the 
Specialist 


T>ACK  a  few  years,  the  "badge"  of  the  press  photographer  was  his  faithful 
Graflex.  Today,  the  Graflex  serves  a  far  wider  usefulness.  But  it  is  still 
chosen  because  its  user  wants  to  do  some  special  kind  of  work,  work  which 
may  be  pictorial  or  documentary  or  .  .  .  human  interest.  The  special  uses  of 
Graflex  are  endless. 

The  appeal  of  Graflex  to  the  specialist  lies  in  its  unique  combination  of 
features:  right-side-up  ground-glass  focusing  .  .  .  focal  plane  shutter  speeds 
up  to  1/1000  second  .  .  .  immediate,  visible  means  of  checking  focus,  depth  of 
field,  and  composition  .  .  .  excellent  standard  lenses  (Kodak  Anastigmats, 
//4.5)  interchangeable  with  accessory  telephotos. 

Inspect  a  Graflex  at  your  Kodak  dealer's,  with  your  specialty  in  mind. 


Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corp. 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


...YOU'RE  LUCKY  YOU  OWN  A  WESTON 


important  feature  is  the  dual-spirit  lev- 
els mounted  on  each  side  of  base,  pro- 
viding for  instant  check  on  tripod 
position. 

Priced  at  approximately  $13.50,  Pho- 
toplane  Swing  Heads  may  be  had  from 
principle  dealers  or  from  the  manufac- 
turer, Ries  Camera  Co.,  1314  Beach- 
wood  Dr.,  Hollywood,  Calif. 


17mm.  Wide  Angle  Lens 

To  facilitate  the  fitting  of  the  Wol- 
lensak  Cine  Velostigmat  Wide  Angle 
lens  to  1 6mm.  turret  cameras,  the  man- 
ufacturer has  decided  to  increase  the  fo- 
cal length  by  2mm.  or,  from  15mm.  to 
17mm.  The  narrow  mechanical  limita- 
tions of  most  turret  cameras  made  the 
adaptation  of  the  15mm.  focus  f/2.7 
Cine  Velostigmat  not  only  costly,  but 
seriously  retarded  production.  However, 
the  popular  speed  of  f/2.7  will  still  be 
maintained  in  the  new  longer  focus  lens. 

The  slight  increase  in  focus  of  the 
new  17mm.  f/2.7  Cine  Velostigmat  has 
reduced  the  angle  but  very  little.  On 
1 6mm.  cameras  it  affords  an  angle  of 
view  of  31°  24'  or  about  5  3  %  more 
coverage  than  a  one-inch  focus  lens  that 
is  usally  standard  equipment.  With  the 
new  17mm.  focus  f/2.7  Velostigmat  in 
either  the  fixed  focus  or  micrometer 
mountings,  the  turret  of  the  camera  can 
now  be  turned  freely  without  fear  of  in- 
jury to  either  the  lens  or  mechanical 
parts  of  the  camera. 

The  prices  still  remain  to  retail  at 
$29.25  for  the  fixed  focus  mounting, 
$45.00  for  the  micrometer  mounting — 
tax  included. 

Further  data  concerning  Wollensak 
lenses  may  be  had  by  writing  Wollensak, 
Rochester,  N.  Y. 


•  All  amateurs,  whether  subiscribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  iStars  will 
receive,  free,  an  animated  leader  in- 
dicative of  such  award. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 

When  submitting  films  for  review 
or  analysis,  please  advise  make  of 
camera,  speed  of  lens,  wrether  or 
not  tripod  was  used,  or  if  you  used 
filters,  exposure  meter,  or  other  ac- 
cessories. While  this  information  is 
not  essential  to  obtain  analysis  of 
your  film,  we  would  like  to  pass  it 
on  for  the  benefit  of  other  amateurs. 


Load  your  camera,  and  shoot  with 
the  same  assurance  as  though  you 
were  using  black  and  white.  For 
despite  the  narrower  working  lati- 
tude of  color,  the  dependable 
accuracy  built  into  your  Weston 
Exposure  Meter  will  enable  you  to 
take  full  advantage  of  this  new 
color  opportunity  . . .  assuring  you 


faithful  color  prints  each  and 
every  shot. 

Weston  Exposure  Meters  are 
sold  through  leading  photo 
dealers  everywhere.  Literature 
gladly  sent  on  request.  Weston 
Electrical  Instrument  Corpora- 
tion, 585  Frelinghuysen  Avenue,. 
Newark,  New  Jersey. 


WESTON  L/tposureAfefer 


PAGE  110 


HOME  MOVIES  FOR  MARCH 


m 


Where  to  buy  and 
rent  home  movie  films 

^^DRE  amateurs  are  deriving  greater 
pleasure  from  their  home  projectors  by 
regularly  screening  some  of  the  fine  8mm. 
and  16mm.  reductions  of  professionally 
produced  motion  pictures.  The  swing  to- 
ward "whole  evening  show"  home  movie 
programs  is  gaining  tremendous  momen- 
tum with  the  result  that  important  photo 
dealers  everywhere  maintain  extensive 
libraries  of  8mm.  and  16mm.  film  subjects 
which  may  be  rented  or  purchased  out- 
right. 

To  guide  our  readers  in  the  selection  of 
an  evening's  show.  HOME  MOVIES  will 
also  present  on  this  page  each  month 
data  concerning  new  film  releases  and 
other  timely  subjects. 

Listed  below  are  some  of  the  nation's 
important  dealers  who  maintain  film  li- 
braries for  their  patrons'  convenience 
and  who  invite  you  to  consult  with  them 
regarding  your  movie  show  needs. 

CALIFORNIA 

BAKERSFIELD 

Edwards  Camera  Exchange 

1609— 19th  St. 
HOLLYWOOD 

Bell  cSc  Howell  Filmosound  Library 

716  N.  La  Brea  Ave. 

Morgan  Camera  Shop 

6262  Sunset  Blvd. 
SAN  LUIS  OBISPO 

Shadow  Arts  Studio 

1036  Chorro  St. 
SOUTH  GATE 

HoUywoodland  Studios  (Local  Only) 

9320  California  Ave. 

DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St.,  N.  W. 

ILLINOIS 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

KANSAS 

WICHITA 

Lewis  Film  Exchange 
216  East  1st. St. 

MASSACHUSETTS 

BOSTON 

Don  Elder's  Film  Library 
739  Boyleston  St..  Dept.  HM 

MISSOURI 

ST.  LOUIS 

Swank's  Motion  Pictures 
620  North  Skinner  Blvd. 

NEW  YORK 

BUFFALO 

Movies  for  the  Home 

211  Main  St. 
NEW  YORK 

Bell  &  Howell  Filmosound  Library 

30  Rockefeller  Plaza 

Walter  O.  Gutlohn.  Inc. 

25  West  45th  St. 

Haber  &  Fink,  Inc. 

12-14  Warren  St. 

Medo  Photo  Supply 

15  West  47th  St. 

National  Cinema  Service 

69  Dey  St. 

OHIO 

DAYTON 

Dayton  Film  '8-16)  Rental  Libraries 
2227  Hepburn  Ave. 

PENNSYLVANIA 

ALLENTOWN 

James  A.  Peters 
41  South  4th  St. 

WISCONSIN 

MILWAUKEE 

Photoart  House 

84  North  Plankinton  Ave. 


J/         want  a  FILM  to  ^now  .  •  . 

..  .  here's  news  of  timely  subjects  for  home  projectors 


Leading  the  field  of  film  pro- 
ducers this  month  with  three  new  timely 
films  for  8mm.  and  i6mm.  home  pro- 
jectors is  Castle  Films  who  announce 
ready  for  distribution:  "Britain's  Com- 
mandos in  Action,"  Bombing  of  Pearl 
Harbor — Bijrning  of  S.  S.  Normandie," 
and  "Russia  Stops  Hitler."  This  array  of 
last  minute  news  pictures  is  evidence 
that  Eugene  Castle,  Castle  Films  presi- 
dent, meant  what  he  said  recently  when 
he  promised  to  make  available  to  home 
movie  fans,  news  pictures  of  vital  world 
events  just  as  rapidly  as  they  could  be 
o.k'd  for  release  by  the  censor.  Each 
subject  will  be  available  from  dealers  at 
usual  Castle  prices  in  five  sizes  and 
lengths. 


Commandos  In  Action 

Much  of  the  motion  picture  footage 
that  has  come  out  of  the  war  arenas  has 
feft  a  lot  to  the  imagination,  due  in  part 
to  legitimate  censorship  and  partly  also 
because  of  the  fact  that  cameramen  are 
working  under  fire  with  the  worst  lens 
problems  that  can  be  imagined. 

Probably  the  most  complete  and  the 
most  expert  motion  picture  filming  of 
any  single  episode  of  all  the  wars  is 
Castle's  "Commandos  In  Action." 

This  latest  release  is  devoted  through- 
out to  actual  sequences  of  the  daring, 
adventurous  raids  on  Nazi-held  Norwe- 
gian islands  ...  a  war  chapter  that  has 
captured  the  fancy  and  admiration  of 
the  whole  world.  Ever}'  foot  of  this  pic- 
ture is  authentic  .  .  .  filmed  in  the  thick 
of  the  fight.  For  suspense,  grim  reality, 
action,  genuine  thrill,  its  equal  will  be 
hard  to  find  or  duplicate. 

Tight-lipped  fighting  men  are  seen 
making  ready  for  the  surprise  attack  as 
their  ships  near  the  coast  under  cover  of 
darkness.  With  split-second  precision, 
British  destroyers'  guns  bark,  bombard- 
ing and  silencing  German  batteries 
ajhore.  As  dawn  appears,  silhouetted 
Commandos  land  from  the  famous  as- 
sault boats,  pave  the  way  for  their  com- 


panions who  follow  in  waves.  Tons  of 
German  shipping  are  destroyed  with 
supplies  intended  for  the  Russian  front. 
Jubilant  Commandos  celebrate  their 
seven-hour  victory  as  their  ships  steam 
homeward,  leaving  the  two  islands  a 
mass  of  flames. 


Pearl  Harbor — Normandie 

The  U.  S.  Navy  Department  recently 
made  available  motion  picture  films  of 
the  surprise  air  and  sea  assault  upon 
Pearl  Harbor  by  Japanese  forces  De- 
cember 7.  Previously  these  graphic 
scenes  had  been  withheld  in  the  public 
interest.  But  their  availability  now 
makes  it  possible  for  Castle  Films  to  in- 
clude them  in  one  reel  for  users  of  8mm. 
and  1 6mm.  projectors,  the  same  reel 
presenting  also  dramatic  filming  of  the 
destruction  of  the  S.  S.  "Normandie." 
Under  the  title  "Bombing  of  Pearl  Har- 
bor— Burning  of  S.S.  Normandie,"  this 
latest  Castle  release  offers  home  movie 
collectors  not  only  a  single  reel  of  con- 
tinual action  . .  .  scenes  of  tremendous 
significance  .  . .  but  also  a  picture  the 
value  of  which  will  grow  as  time  passes 
because  of  the  historic  nature  of  the 
subjects  covered. 


Russia  Stops  Hitler 

Battle  movies,  never  before  seen, 
showing  Russia's  magnificent  counter 
assaults  driving  the  Nazi  invaders  back 
where  they  came  from,  have  been  re- 
ceived in  this  country  and  are  now  be- 


HOME  MOVIES  FOR  MARCH 


PACE  111 


ing  released  by  Castle  Films  for  owners 
of  8  and  i6mm  projectors  under  the 
title  "Russia  Stops  Hitler."  This  is  said 
to  be  the  most  realistic  filming  of  actual 
large-scale  battle  action  that  has  come 
out  of  the  wars.  Soviet  fighters  are 
shown  in  furious  bayonet  charges 
against  the  enemy,  and  German  divi- 
sions and  their  equipment  are  shattered 
by  blazing  artillery.  The  mechanized 
phases  of  the  Russo-Nazi  struggle  are 
seen  as  tanks  thunder  into  action  and 
as  planes  strafe  the  retreating  invaders. 
The  biting  winter  and  its  effect  upon 
ill-equipped  Germans  is  seen  as  priso- 
ners, many  mere  boys,  shiver  in  captiv- 
ity. Stalin  gathers  Russia's  might  in  Red 
Square  just  before  sending  his  armies 
into  battle.  A  picture  of  great  historic 
value. 


FlashiGordon  ^    ■  :  j 

Available  on  rental  basis  from  Bell  & 
Howell  Film  Libraries  in  principle  cities 
is  a  1 3 -episode  serial,  Flash  Gordon — 
each  episode  z  reels  in  i6mm  sound, 
running  time  approximately  23  minutes. 

This  new  "Universal"  serial  is  another 
classic  modern  fairy  tale,  so  widely  pop- 
ularized by  the  "comic"  strips.  The  sci- 
entific , super-man  of  the  future  is  able 
to  ward  oflF  death-dealing  planets  pop- 
ulated by  Lion  Men,  Hawkmen,  Mon- 
key Men,  Shark  Men,  and  by  the  weird- 
est aggregation  of  dragons  and  other 
animal  life  ever  imagined.  Actually,  lit- 
tle-known living  beasts  from  Mongolia, 
India  and  South  America  play  several  of 
these  animal  roles.  Space  ships  reach 
cities  suspended  in  air,  "Hydrocycles" 
approach  these  that  flourish  beneath  the 
sea,  ray  guns,  rockets,  atom  furnaces,  li- 
quid fire,  radio  telescopes  and  many  oth- 
er wonders  are  featured. 

Step  Forward 

"Step  Forward"  is  title  of  the  first  of 
a  series  of  two-reel  Keystone  Comedies 
now  being  released  in  8mm.  exclusively 
by  Cope  Studios,  3720  So.  Figueroa,  Los 
Angeles. 

Many  old  Keystone  Comedy  stars, 
prime  favorites  in  the  silent  days,  high- 
light this  rollicking  slapstick  fun  film 
including  Ben  Turpin,  Phyllis  Haver, 
and  others  since  forgotten  by  Holly- 
wood. 

In  "Step  Forward,"  Turpin  is  the 


Croi9  Senior  Rewindi  Craiq  Jyitior  Combination  Qraiq  Junior  Splicer  Xroi^  Senior  Combination  Croiq  De  Iwic  Brwindi 


CRAIG  MOVIE  SUPPLY  COMPANY 

LOS  ANGELES,  CALIFORNIA      •      SEATTLE,  WASHINGTON     •      SAN  FRANCISCO,  CALIFORNIA 


S4y  Q£  PHOTOHOOdS.. 


get  the  BEST  BALANCE 

of  picture-taking  LIGHT/ 
LAMP  LIFE  and  color  temperature 


Lamp  life,  light  and  color  temper- 
ature move  together  in  balance. 
If  you  gain  on  one  side  you 
lose  on  the  other.  That's  a 
fact  checked  by  60  years  of 
lamp-making  and  research.  So 
General  Electric  controls  this 
balance  of  light,  life  and  color  to 
fit  your  needs  best . . .  and  gives  it 
to  you  uniformly,  at  low  cost,  in 
G-E  Mazda  Photoflood  lamps. 


GENERAL  ELECTRIC 
MAZDA  PHOTO  LAMPS 


PAGE  112 


HOME  MOVIES  FOR  MARCH 


announcing/ 

Auricon 

SOUND 
CAMERA 

for  16  mm  sound  -  on  -  film 


skipper  of  a  one-man  street  car.  Phyllis 
Haver  is  his  sweetheart  and  his  troubles 
begin  when  male  passengers  insist  on 
flirting  with  Phyllis.  There's  much  fun 
and  suspense  in  the  typical  Keystone 
chase  scenes  of  the  street  car  running 
down  the  street  with  no  one  at  the  con- 


trols, etc. 

This  release  available  in  8mm.  only, 
may  be  had  from  photo  dealers  or  di- 
rect from  Cope  Studios.  The  subject 
runs  two  reels  in  length  and  is  priced 
at  $8. DO.  Running  time  approximately 
24  minutes. 


J4ow  to  build  trick  itag.e  .  .  . 


*  Simplified  Threading 

*  High  Fidelity  Sound 

it  Self-contained  in  sound  proof  "blimp." 

*  Minimum  equipment;  maximum  portabil- 
ity. Camera  and  Amplifier,  complete, 
weigh  only  thirty-seven  pounds. 

•k  Kodachrome  or  black  and  white  pictures 
with  Auricon  sound  track  will  reproduce 
on  any  sound-iilm  projector. 

Synchronous  electric  motor  driven. 

Can  be  operated  in  the  field  from  an 
Auricon  Portable  Power  Supply. 

*  Daylight  loading  spools  with  200-foot  film 
capacity. 

Auricon  Camera  with  type  "C"  lens  mount 
(but  without  lens)  and  Amplifier  complete 
with  microphone,  instructions,  and  cases 

S880.00 


AURICON  16  mm  KlZORDl^ 

ic  Variable-area  sound  on  film,  for  double 
system  recording  with  a  synchronous  motor 
driven  16  mm.  camera.  Amplifier  has  back- 
ground-noise reduction  and  mixers  for  com- 
bining speech  and  music.  With  dynamic 
microphone,  instructions  and  cases  for  Re- 
corder, Amplifier,  Accessories  ....  S695.00 

Ask  your  Dealer,  or  write  today 
for  free  descriptive  booklet. 

AURICON  2>uu44o^, 
E.  M.  BERNDT  CORP. 

5515  S'J.N'SET  BLVD.,  HOLLYWOOD.  CALIF. 


•  Continued  from  Page  102 

of  wood  are  glued  to  the  baseboard 
around  three  sides  of  the  camera,  leaving 
the  door  free  to  open.  This  fixes  the  cam- 
era so  that  it  may  be  removed,  if  need 
be,  and  replaced  in  exactly  the  same  po- 
sition. 

Next  comes  the  hood,  attached  to 
Stage  A.  At  the  end  next  the  camera 
lens,  a  circular  hole,  "X",  is  cut  out, 
concentric  with  the  lens.  A  "sight"  is 
made  from  a  cardboard  tube  and  cross 
wires  fitted  as  shown  in  Fig.  2;  this  may 
be  inserted  in  the  hole  after  the  camera 
has  been  removed,  and  so  arranged  that 
the  sight  will  coincide  with  the  center 
of  the  lens. 

An  auxiliary  eyepiece,  "Y,"  is  made 
from  another  length  of  tube,  and  fitted 
to  the  top  of  the  hood  as  shown  in  Fig.  i. 
Slots  are  cut  in  each  side  of  the  hood 
through  which  a  small  mirror  may  be 
inserted,  set  at  an  angle  of  45  degrees 


to  the  line  of  sight.  This  should  be  lined 
up  by  direct  observation  in  order  to  in- 
sure that  the  view  limited  by  the  open- 
ing in  Stage  C  is  precisely  the  same  from 
both  eyepieces. 

This  auxiliary  eyepiece  replaces  the 
visual  focussing  tube  found  on  the  pro- 
fessional camera,  by  means  of  which  the 
gate  image  may  be  examined.  Although 
the  image  cannot  be  seen  in  the  simple 
camera  in  use,  the  exact  field  of  view 
may  be  inspected  through  the  eyepiece, 
without  removing  the  camera  from  its 
position  on  the  baseboard.  This  is  a  mat- 
ter of  paramount  importance  when 
precise  alignment  for  masking  and  dou- 
ble exposure  is  required.  (Note:  The 
auxiliary  eyepiece  is  not  shown  in  the 
photographs  as  it  was  added  after  they 
were  taken.) 

Stage  A  carries  a  mask  holder  on  the 
underside.  The  masks  are  cut  from  thin 


Emulsion  Ratings  for  Bmm  and  lEmm  Films 


AGF.4 

16mm  SSS  Pan  

16  'Rypan  

16mm  Panchromatic  

ISrnm  Supreme  Pan.  NegstiTe. 

16min  Finopan  Negative  

16mm  Positive  

16mm  Plenachrome  

8mm  TwiD-8  Hypan  

8mm  Filmopan  


tDUPONT 

Regular  Pan  fRev.)  Type  321  

Super  Pan  'Rev.)  T\-pe  302   

Superior-2  'Neg-Poe  or  Rev)  T\-pe  301 
T>-pe  314  Pan  fKeg.-Po8.  or  Reversal) . 

Poeitive  Type  600  

Sound  Recording  Positive  Type  601 . . 

E.\STM.\N 

16mm  .Super  XX  Pan  

16mm  Super  X  Pan  

1 6mm  Safety  

16min  Sound  Pan  

16mm  Pan.  Negative  

16mm  Poeitive  

8mm  Super  X  Pan  

8mm  Regular  Pan  

Kodachrome  '8  and  16nun)  

Kodachrome  "K"  (8  and  I6inm)  


GE\'.^ERT 
Super  Reversal. 

Panchro  

Ortho  


Scheinar  Weston 


48 


GENERA 

Super  Meteorpan. . . . 
Super  Panchromatic. 

Super  Ortho  

Movetooe  Ortlio  

Sem-Ortho  


KINO  LUX 

Na  1  

No.  2  

Na  3  

No.  3  Gold  SeaL_ 

CONSUMERS 

Ortho  

Panchro  

Cdorcrome  


HOLLYWOOD 

S.  S.  Pan  

Pan  

Semi-Ortho  


UMVEX 
Standard. . 
Cltnpan. . 


GBAPHI  CHROME. 

Regular  

Plus  

Soperpanex  No.  100. . 
Superpanei  No.  24. . . 
Colartooe  


Sdieincr  W«Mmi 


21 


40 

100 


tRatings  fw  laet  four  Dupont  films  are  for  straight  development.  Ratings  for  reversal  depend  upon  processing  formalai 

and  tectmique  employed. 
•With  filter. 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


HOME  MOVIES  FOR  MARCH 


PACE  113 


card  or  "tin"  and  should  be  a  tight  slid- 
ing fit  in  the  U-shaped  holder. 

Stage  B  has  a  similar  type  of  holder, 
but  larger,  on  the  upper  side  to  carry  a 
rectangular  sheet  of  plate  glass.  The 
function  of  this  will  be  described  in  the 
next  article.  Four  60-  or  loo-watt  tubu- 
lar type  electric  lamps  are  fitted  to  the 
underside  in  suitable  holders.  These  serve 
to  illuminate  any  set-up  on  Stage  C. 

Stage  C,  which  will  be  used  mainly 
for  carrying  foreground  model  cutouts 
has  simply  a  rectangular  hole  cut 
through  the  plywood  covering.  It  also 
forms  a  support  for  the  movable  stage 
when  the  apparatus  is  used  as  a  titler. 
This  movable  stage  is  cut  from  a  sheet 
of  3 -ply,  the  overall  dimensions  being 
the  same  as  those  of  the  frame,  with  the 
corners  checked  out,  so  that  it  is  a  neat 
sliding  fit  inside  the  legs  of  the  frame. 

Holes  are  drilled  in  the  legs  at  2"  cen- 
ters. These  should  be  about  '/4"  diame- 
ter to  take  the  tapered  pegs  that  serve 
as  supports  for  the  movable  stage,  which 
may  be  fixed  at  any  required  position. 
The  holes  also  serve  as  supports  for  the 
wander  lights,  taking  the  dowel  pins 
fixed  in  the  base  of  the  lights,  and  per- 
mitting them  to  be  adjusted  in  a  variety 
of  positions.  Two  of  these  lights  are 
shown  in  Fig.  3.  The  base  is  of  wood, 
with  a  couple  of  dowel  pins  set  at  2" 
centers  and  the  reflector  is  cut  from  a 


suitable  tin  can.  The  bottom  of  the  tin 
is  left  intact,  a  hole  cut  in  the  center 
and  the  reflector  fitted  to  a  batten  type 
lampholder  by  means  of  the  locking 
ring  normally  used  for  the  lampshade. 

The  whole  outfit  should  be  finished  in 
dull  black  with  the  exception  of  the 
underside  of  Stage  B.  This  is  painted 
white  to  reflect  the  light  from  the  tu- 
bular lamps.  A  few  plugs,  lampholders, 
a  switch  or  two  and  some  flexible  wire 
completes  the  job.  How  to  use  it  will  be 
the  subject  of  later  articles. 

The  only  other  item  of  essential 
equipment  for  the  magic  studio  is  a  dead 
black  backdrop.  Any  material  is  suit- 
able, provided  it  is  free  from  sheen  and 
by  sewing  together  suitable  strips,  it  is 
an  easy  matter  to  make  up  a  backcloth 
some  four  yards  long  by  three  yards 
wide.  This  is  a  handy  size,  but  it  is  use- 
ful to  have  another  available  so  to  dou- 
ble the  size  when  needed.  If  circum- 
stances permit,  it  is  an  advantage  to  be 
able  to  stretch  the  cloth  taut  on  a  frame. 
Wrinkles  which  might  show  up  are  elim- 
inated and  if  at  the  same  time  the  screen 
is  tilted  forward  at  the  top,  light  reflec- 
tion is  reduced  to  the  minimum.  Many 
trick  shots  depend  on  photographing 
part  of  the  action  against  a  dead  back- 
ground and  superimposing  the  rest  of 
the  scene  by  double  exposure. 

Where  the  field  of  view  required  may 


Every  Hollywood  Movie 
Testifies  to 

B&H  PRECISION! 

WHENEVER  you  go  to  the  movies, 
you  see  technical  perfection  which 
stems  from  the  precision  of  Bell  & 
Howell  professional  equipment.  And  if 
you  could  see  Hollywood  producers, 
directors,  cinematographers,  and  stars 
at  their  personal  movie  making,  you'd 
find  that  most  of  them  use  B&H  Filmos. 
For  Filmos  best  meet  their  studio- 
acquired  standards  of  precision.  Write 
for  literature.  Bell  &  Howell  Company, 
1825  Larchmont  Ave.,  Chicago;  New 
York;  Hollywood;  Washington,  D.  C; 
London.  Established  1907. 


RAVEN  SCREENS 


UNSURPASSED  "THEATRE  QUALITY" 
PROJECTION  IN  EVERY  TYPE  AND  STYLE  OF  SCREEN  OFFERS 
THE  FINEST  IN  QUALITY  REPRODUCTION  FOR  EVERY  KIND  OF  S^MUUtl/l^/ 


RAVEN  FABRICS 

Haftone  Witelite 
Crystal  Beaded         White  Opaque 
Polaroid  Silver  Silvertone 

RAVEN  MOUNTINGS 

DeLuxe  Automatic  Collapsible 

22"  X  30"  to  70"  X  70" 
Standard  Tripod 

30"  X  40"  to  52"  x  72" 
Gear  Operated  Tripod 

45"  X  60"  X  70"  X  96" 
Duplex 

30"  X  30"  to  70"  X  96" 
Table 

18"  X  24"  to  36"  X  48" 
Metal  Case  Hanging 

22"  X  30"  to  12'  X  12' 
Spring  Roller  and  Back  Board 

70"  X  70"  to  12'  X  12' 
Wood  Roller  and  Batten 

48"  X  48"  to  12'  X  12' 
Thruvision 

18"  X  24"  to  45"  X  60" 


444  distinctive  Raven  Screens  —  Haftone,  Witelite  and  other 
exclusive  fabrics  as  well  as  many  standard  fabrics,  such  as  Glass 
Beaded  —  are  yours  to  choose  from.  No  matter  how  varied 
your  needs,  you'll  find  a  Raven  Screen  serves  you  best.  In  times 
like  these  your  purchase  of  equipment  must  be  more  discrim- 
inating than  ever  before.  Some  of  the  nation's  foremost  cine- 
matographers as  well  as  many  theater  chains  use  nothing  but 
Raven  Screens.  You,  too,  will  find  them  the  finest  values  for 
your  money.  Leading  dealers  everywhere  feature  these  outstand- 
ing screens.  See  them  today 


or  write 
brochure. 


for  illustrated 


Eastman  Kodak  selected  Raven 
Screens,  from  among  all  others, 
for  their  gorgeous  Cavalcade  of 
Color  at  the  World's  Fair. 


RAVEN  SCREEN 
CORPORATION 

314  EAST  35  STREET 
NEW  YORK  CITY 


PACE  114 


HOME  MOVIES  FOR  MARCH 


Quality  Bulk  Movie  Film 

Smin    •    9V2mm    •  16inm   •  35mm 

SUPER  PANCHRO  RE VE RSAL— Scored 
Speed  24-18— Anti-Halo  Backing. 

100  ft.  33  ft. 
Double  3  .  .  .  $3.75  J1.35 
Single  8  .  .  .  2.10  .85 
9^4  mm.   .  .  .  3.65 

SUPER  CINEPAN  PLUS  REVERSAL— Not  Scored 

Speed  64-40 — Non-Halatiun  Base 

100  ft.  33  ft. 
Double  8  .  .  .  $4.00  $1.50 
Single  8  .  .  .  2.25  .95 
16  mm   3.85 

SUPER  CINEPAN  REVERSAL— Not  Scored 

Speed  24-16 — Non-Halation  Base 

100  ft.  33  ft. 
Double  8  .  .  .  $3.60  $1.30 
Single  8   .  .  .    2.00  .80 

16  mm   3.50 

CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-- — Nnn-HalatioH  Base — Not  Ecoreil 

100  ft.  33  ft. 
Double  8  .  .  .  $1.85  $  .80 
Single  8   .  .  .    1.20  .55 

16  mm   1.60 

CINE-KODAK-POSITIVE  TITLE  FILM-Not  scored 

100  ft.  33  ft. 
Double  8  .  .  .  $1.45  $  .65 
Single  8   .  .  .    1.00  .45 

16  mm   1.10 

Clear,  Purplehaze,  Yellow,  Red,  Amber,  Special  Blue. 

Also  DuPont  Lavender,  Light  Amber. 
Complete  New  Reversal  and  Title  Instructions  Free 
with  Film  Orders.  .Separately,  50  cents  each.  Cash, 
check  or  money  order  for  quick  service.  Deposit 
$1.00  returned  with  C.  O.  D.  orders.  Special  Deliv- 
ery, 15c:  air  mail  $1.00  extra.  Overpayments  re- 
funded or  credited.    No  stamps,  please. 

CAMERA  SPOOLS  WITH  CANS— Each 
Keystone  Dble.  8   .  $  .35  Keystone  Sgle.  8    .  $  .35 

Eastman  Dble.  8    .      .40   IG  mm.,  50  ft  55 

Unlvex  Sgle.  8.  .  .  .15  16  mm.,  100  ft.  .  .  .65 
EXTRA  CANS.  Double  8  and  Straight  8  size  .05 

100  ft.  and  50  ft.  16  mm.  size  10 

Non-Humidor,  400  ft.  15c  each:  10  for.  .  1.25 

MISCELLANEOUS 

BAIA  Precision  All-Metal  8  mm.  Slitter  .  .  $2.75 
FOTOFADE  DTE  for  making  Chemical  Fades  .  1.00 
FOTOFADE  WIPE-OFF  TAPE,  per  roll  .  .  .60 
CINETINTS.  6  Colors  and  Instructions  .  .  .  3.00 

DuPONT  TISCOSE  SPONGES,  each  35 

HOME  MOVIES,  Back  Issues,  1936-37-38  .  .  .15 
Not  all  months  in  any  year,  1940-41,  each  .  .30 
TITLE  DEVELOPER,  tubes,  each  make,  16  oz.  .15 
NOTICE  —  All  previous  prices  are  obsolete  due  to 
new  tax  eiTective  Oct.  1.  New  lists  again  In  prep- 
aration and  all  who  have  written  will  receive  copy 
as  soon  as  possible. 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  ST.  JOSEPH  ST.      INDIANAPOLIS,  IND. 


The  Automatic  Splice  Marker 
and  Brilliant  Viewer 


THE  BAIA  MOTION  PICTURE 
ENGINEERING  CO. 

166  Victor  Avenue  Highland  Park,  Mich. 


 NOW  

Gorgeous  KODACHROME  Film  Subjects! 
in   both    8  mm.  '  and    16  mm.   full  color. 

Waikiki  Hula  Girls  Cairo  (Egypt) 

Surf  Board  Riding  in  Hawaii         African  Safari 
Victoria-Niagara  Falls  Fiords  of  Norway 

Gibralter  (Fort,  city)  Panama  (Canal,  cities) 

French  West  African  Outiiosts  (Including  Dakar) 
8mm.  50  ft.,  each  $6.50  Ifimm.  100  ft.,  each  $13.00 

(Footages  are  ai)proximate ) 
Shipped  prepaid  U.S.A.  upon  receipt  of  money  order. 
No  checks. 
Dealers,  Write  for  Discounts. 
Also  125  BW  subjects  including  full  length  Disneys. 
Distributed  by 
HAROLD  P.  JENKINS  CO.  Elmira,  N.  Y. 


be  limited,  such  as  for  a  close-up,  the 
smaller  backdrop  will  serve.  An  ideal 
dead  background  may  be  obtained  by 
hanging  the  backcloth  a  few  feet  back 
inside  a  building  having  large  double 
doors,  such  as  the  garage  attached  to  the 
house.  In  this  way,  the  cloth,  already 
black,  is  in  shadow  and  will  therefore 
have  no  appreciable  effect  on  the  film 
emulsion,  while  the  action  to  be  photo- 
graphed can  take  place  out  in  front  in 
full  sunlight. 


This  method  may  still  be  used  for  a 
longer  shot,  provided  the  action  is  lim- 
ited to  a  portion  of  the  picture  area  only. 
This  area  is  masked  off  with  a  suitable 
mask  set  in  the  mask  holder  on  Stage  A, 
the  scene  viewed  through  the  opening 
being  covered  by  the  black  backdrop 
and  the  action  taking  place  in  front  as 
before. 

Next  month  we  shall  dwell  on  the 
subject  of  masks  for  multiple  exposures, 
so  essential  in  trick  camera  shots. 


•  Continued  from  Page  loi 

ilk  seldom  realize  the  endless  patience  re- 
quired to  film,  for  example,  a  single 
scene  of  a  nesting  sequence.  Unlike  mo- 
vies of  other  subjects,  films  of  bird  life 
must  necessarily  include  certain  types  of 
shots  that  might  otherwise  be  criticized 
for  exposure,  focus,  composition  or  un- 
steadiness of  camera.  Obviously,  bird 
films  should  not  contain  too  much  of 
this  kind  of  footage,  and  they  need  not. 
Which  brings  us  back  to  the  subject  of 
telephoto  lonses. 

In  order  to  successfully  photograph 
birds  at  a  safe  distance  where  one's  pres- 
ence or  sound  of  camera  will  not  prove 
disturbing,  yet  enable  capturing  action 
vividly  enough  to  be  discernible  on  the 
screen,  a  telephoto  lens  must  be  em- 
ployed and  the  camera  must  be  mounted 
on  tripod  or  other  sturdy  support.  I  am 
a  bit  psychopathic  on  the  subject  of  tel- 
ephotos,  I  suppose.  At  present  my  pride 
and  cinematic  joy  is  a  30-inch  Goertz- 
Dagor  convertible  to  60-inch  focal 
length.  This  is  a  little  extreme,  of  course, 
but  I've  found  that  the  further  away 
the  wild  life  photographer  stays  from 
his  subjects  the  more  successful  will  be 
results  and  the  happier  and  safer  will  be 
his  "actors." 

This  cannot  be  stressed  too  strongly. 
Predatory  animals  have  the  peculiar  fa- 
culty for  following  man-made  trails  in 
search  of  food;  and  many  times  I  have 
returned  to  a  scene  the  following  day  to 
resume  filming  a  much-coveted  nest  of 
(•ees  or  young  birds,  only  to  find  the 
birds  or  eggs  devoured  in  my  absence. 

Without  a  doubt,  the  greatest  menace 
to  eggs  and  young  birds  is  the  blue  jay 
(there  are  a  number  of  species,  all  of 
which  are  predatory).  He  is  a  beautiful 
bird.  His  showy  plumage  photographs 
with  great  splendor,  and  he  makes  a  fine 
subject.  But  don't  let  him  find  you  prob- 
ing about  another  bird's  nest,  or  inevi- 
tably your  subjects,  whether  eggs  or 
young,  will  have  vanished  by  the  fol- 
lowing day.  The  best  policy  I  know, 
when  a  jay  comes  on  the  "set"  while 
photographic  operations  are  underway. 


is  to  shoot  him  down  and  forget  about 
it.  If  you  don't,  an  innocent  bird  will 
suffer. 

It  is  nearly  always  necessary  to  do 
some  rearranging  about  the  nest  to  make 
possible  a  good  camera  angle.  In  doing 
this,  tie  back  the  branches  and  foUage 
with  coarse,  black  thread.  Do  not  de- 
velop an  "ax  complex."  After  the  day's 
filming,  release  the  tied  branches  and  in 
this  way  restore  the  natural  concealment 
and  safety  that  originally  existed. 

In  filming  small  birds,  such  as  the 
bush-tit  and  humming  bird,  the  sound 
of  the  camera  is  one  of  the  most  dis- 
turbing elements.  These  birds  pay  little 
or  no  attention  to  the  faint  buzzing  of 
the  camera  once  it  is  started,  but  most 
all  birds  dart  away  in  great  fright  the 
instant  a  noisy  exposure  button  is 
pressed. 

This,  of  course,  spoils  what  might 
have  been  a  rare  scene.  It  often  helps  if 
there  is  a  light  wind  blowing,  in  which 
case  scant  attention  will  be  given  to  the 
camera  noise  by  the  birds,  and  natural 
sequences  can  be  successfully  filmed. 

It  is  dangerous  to  be  too  persistent  in 
filming  nesting  sequences.  Once  I  at- 
tempted filming  a  feeding  sequence  at 
the  nest  of  a  Heerman's  Song  Sparrow. 
I  pressed  the  exposure  button  and  in- 
stantly the  parent  bird  darted  away.  I 
waited  30  minutes.  The  sparrow  again 
approached  her  nest  with  a  choice  tid- 
bit and  was  about  to  feed  her  young. 
Again  I  pressed  the  button.  Again  she 
instantly  sped  away.  I  waited  another 
half  hour  and  again  the  same  thing  hap- 
pened. My  theory  was  that  she  would 
eventually  get  used  to  the  idea  and  a 
decent  feeding  scene  could  be  filmed. 
But  after  five  hours  of  this  I  became  a 
bit  fatigued  and  discouraged  with  the 
whole  set-up  and  decided  to  have  a  look 
into  the  nest  and  lay  off  for  the  rest  of 
the  day;  but  too  late — the  young  were 
dead,  victims  of  sunstroke  and  starva- 
tion. 

There  are  two  things  about  birds  be- 
sides feathers  that  make  them  stand  out 
in  signal  contrast  to  most  other  animals. 


HOME  MOVIES  FOR  AtiARCH 


PACE  115 


There  is  the  fact  that  they  lay  eggs 
which  are  usually  colored  and,  of  course, 
their  ability  to  fly. 

There  is  much  to  be  said  regarding  the 
photography  of  birds  in  flight,  but  we 
must  not  overlook  the  possibilities  of  al- 
so filming  close-ups  of  their  eggs  in  nat- 
ural color. 

I  prefer  doing  this  at  home  at  night 
when  I  feel  perfectly  relaxed.  It  is  a  bit 
tedious,  but  not  harmful  to  the  egg  if 
care  is  taken.  Besides,  the  bird  doesn't 
mind  if  you  borrow  an  egg  as  long  as 
you  bring  it  back  in  a  day  or  so  un- 
harmed! 

In  this  respect,  I  find  use  for  a  pint 
thermos  bottle  which  has  been  washed 
thoroughly  with  water  heated  to  about 
iio°F.  Shake  it  vigorously  to  expel  as 
much  water  as  possible,  then  fill  with 
warm  cotton  and  plug  in  the  stopper.  In 
this  "portable  incubator"  it  is  safe  to 
carry  about  one  or  more  half-hatched 
bird's  eggs  indefinitely  with  only  an  oc- 
casional reheating,  and  it  can  be  replaced 
in  the  nest  after  being  thoroughly 
"mugged." 

Dark  blue  blotting  paper  makes  a 
good  background  for  such  shots.  It  is 
contrasty  and  yet  does  not  divert  atten- 
tion. There  are  some  bird's  eggs,  especial- 
ly those  of  the  Catbird,  which  are  very 
dark  blue,  in  which  case  some  other  col- 
or background  should  be  used. 


My  favorite  sequence  in  filming  a 
bird's  eggs  is  to  first  show  a  long  shot 
of  the  habitat  in  which  the  nest  was 
found,  with  special  attention  given  to 
composition.  Then  dissolve  to  a  medium 
close-up  showing  perfectly  its  form  and 
coloration. 

With  this  sequence,  one  establishes  a 
familiarity  with  the  type  of  country  or 
locale  in  which  the  nest  of  a  given  spe- 
cies of  bird  may  be  found.  It  can  show 
in  detail  the  character  of  the  nest — 
some  are  very  beautiful — and  size  of  the 
nest  and  eggs  in  relation  to  a  familiar 
object,  the  human  hand,  for  example. 
And  lastly,  it  shows  the  colors  and  intri- 
cate markings  and  shape  of  the  individ- 
ual egg. 

Another  interesting  sequence  is  to 
show  either  a  close-up  of  the  nest  and  its 
contents  of  unhatched  eggs,  or  make  an 
ultra  close-up  of  one  egg,  being  very 
careful  about  exposure.  Then  execute  a 
slow,  four-  or  five-second  fade.  Wind 
back  this  slow  fade  and  put  away  the 
camera  or  magazine  until  the  eggs  hatch 
(subterfuge  can  be  used  here  to  great  ad- 
vantage). Then,  with  the  same  film, 
make  a  slow  three-  or  four-second  fade- 
in  of  either  the  nest  full  of  young  birds, 
or  an  ultra  close-up  of  one  of  them.  The 
result  will  be  a  slow,  magical  transition 
from  unhatched  eggs  to  new-born  babes. 
The  effect  is  startling!  The  same  routine 


GET  THIS  FREE  BOOK!  Every  Home 
Movie  Fan  Should  Have  It  .  .  .  Brand  New  .  .  . 
just  out!  Chuck  full  from  cover  to  cover  with 
the  choicest  bargains  you  ever  heard  of  .  .  . 
Including:  ESSCO  double  8mm  and  16mm  HOME 
MOVIE  FILM  as  low  as  Sl.OO  per  Roll,  including 
Processing. 

Also  Bulk  Film,  processing  rates,  etc.  Dozens  of 
daily  needed  items  and  accessories,  screens,  reels, 
titlers,  etc.,  including  BIG  NEW  LIST  of  166 
FILM  SUBJECTS,  glamour  films,  cartoons,  west- 
erns, historical,  adventure  and  sports  films  for 
8mm  and  16mm  projectors. 

SEND  FOR  THIS  FREE  BOOK  TODAY 
Keep   it   for   ready   reference.   Your   name  on 
a  postcard  brings  it  by  return  mail  FREE! 


6117  S. Campbell  Av.inSB  Chicago 


PEDESTAL  BEARING 


he  means  to  ^xoducQ  professional  titles  for  those 
splendid  mooing  pictures  you  took 
this  past  Seasonl  


ANY  S  OR  I6MM 
MOVIE  CAMERA 


FOR  MAKING: 
Zooms  •  Flip -Flops  •  Rear 
Pro'iectlons  •  Turn-Arounds 
Turn-Overs  •  Moving 
Letters    •  Handwriting 
Fade-Ins  •  Fade-Outs 
Shadow  Letters 
SELF-LOCKING      Receding  Titles  •  And 


ADj'isTMEN'f Numerous  Other  Strik- 
ing Effects  Limited 

VERTICAL  MOUNTING    Onllf     t  I)  YOUT 

Own  Imagination 

RUBBER  FEET 


You  no  longer  need  "dream"  about  attaining  professional  char- 
acteristics in  your  home  movie  productions . . .  with  the  BROWN 
TITLE  MAKER'  you  can  easily  and  expertly  "dress  up"  your 
films  to  provide  the  smooth  finishing  touches  that  they  deserve. 
Whether  you  work  in  black-and-white  or  full  color,  the  BROWN 
TITLE  MAKER  is  your  best  bet,  even  though  it  may  cost  a  few 
dollars  more.  Ask  for  a  demonstration  at  your  dealer's,  or  write 
for  complete  details. 

Complete  with  Opal  glasi,  clear  glass  and  cork  backgrounds,  g"xt2"  .  .  .  two  reflectors 
wtlh  adjustable  brackets  .  .  .  i2-ft.  extension  cord  .  .  .  vertical  pivot  bearings  ■  .  .  target- 
sight  and  supplementary  lens  holder  .  .  .  field  chart  for  lens  .  .  .  and  instructions. 

AMERICAN  BOLEX  CO.,  Inc.  .  155  East  4At\\  St..  Neuj  Yorfe,  N.  V. 

West  Coast  Representatire :  Frank  A.  Emmet  Co..  2~07  IT.  Pico  Street,  Los  Angeles,  Calif. 


$27.50  <^<'mplete,Nothmg  Else  to  Buy! 


With  the  Money  You  Save  by 
Using  the  BROWN  PRECISION 
TITLER  Save  Again  by  Buying 
Defense  Stamps. 


PACE  116 


HOME  MOVIES  FOR  MARCH 


3mm  MOVIE  TITLES  Iruw^:.';! 

Snappy  titles  will  put  zip  into  your  films.  Get  this 
tiller.  Write,  print  or  draw  your  titles  on  a  card. 

and  "shoot"  Easy.  No  fuss  or  bother.  Wlien  ordering  state 

ni:ike  of  camera. 

(8inm  only)  Revere.    Rerere  Turret.  Keystone,  B  &  H. 
Kastman  20-2.5.  l"niTei.  Easily  w:rth  S2.S0.  ^ 
This  month.  O.NXY   $1.69 

DULK.  MUVIC  MLWl  J  value  far  your  film  dol- 
lars. 100  ft.  8-S  Sl.Hj;  100  fi.  Sgl.  8  $1.15;  400  ft. 
Ifimm.  notched  every  100  ft, 

HOW  TO   DEVELOP  YOUR   OWN   MOVIE  FILM 

It's  easy:  Just  send  i'lc  f  t  illustrated  instruction  book, 
complete  with  formulai-  ar  d  plans  fur  building  your  own 
home  processing  outfit. 

ORDER   DIRECT   FROM  THIS 
y„^ll^  AD  NOW 

Quiik  -.ivice.  M'iiio  ti;:ck  if  n  )t  satisfied. 


^'SUPERIOR  BULK  FILM  CO. 


Dept.  , 
H3  M 


Horn*  Pr»c«s«infl  H«»dquwt»r«" 
1S8  Wr.  Randolph  St..  Chicas*.  III. 


EES  Photoplane  Swinghead 
^         and  Tri-lok  Tripod 


I*h  itopiane  Swinghead  locks  rig- 
dly  straight  up.  d^wn  or  at  any 
angle  in  the  full  3)0'  range. 
Precision  built. 

Model  C,  Swing  Head  .  .  $13.50 


Tri-lok    Tripod    shoivn  with 
Swing  Head  looks  firmly  in 
any  position  even  to  extreme 
angle  sh<»ts. 

Model  C.  Tripod  .  .  $13.50 

If  your  Dealer  does  not 
stock  Ries  Products.  Write 
to   Dept.-M    fir  Catalog. 


Patents  Pending 

RIES    CAMERA  COMPANY 

1314  Bearhwood  Drive  Hollywood.  Californ 


8 ENLARGED    «  f\ 
TO  lO 


REDUCED 

TO 


8 


CEO.  W.  COLBURN  LABORATORY 
Black  and  White  and  Kodachrome 

Special  Motion  Picture  Printing 
II97-A  MERCHANDISE  MART 
CHICAeO 


Get  Better 

SPLICES    with    the    new    SEEMANN : 
New  improved  design 
— made  of  heavy  gauge 
^*rjS^\^               niated  metal,  mounted 
«j^P^'                   n  hardword  base.  An- 
red  cement  battle. 
1^  y^^tgKf            ■   Accurate  .  .  EffieientI 
^^j^^SM^^"       Fcr  8  or  16mm. 

WHOLESALE    PHOTO    SUPPLY  CO. 
7266  Beverly  Blvd..      Dept.  HM-3.      Hollywood.  Calif. 

Use 


Why  Pay  More? 


Thrifty  thrifty  ORTHATYPE.  for  outdoor 
shooting,  non-halation,  fine  aC 

1  6mm.      grain,  per  100-fi.  roll   ^X.Z* 

Ccmpare  to  any  film  up  to  twice  the  cost. 

Film  California    Buyers    Include    Sales  Tas 

THRIFTY  FILMS  "ToVin^.r^f.^gaff,^"'" 


PB   MOVIE  KIT  for  COLORFILM 

.S4.75  COMPLETE 
1  PB  Lens  .Shade  and  Filter  Holder. 
1  PB  Haze  Filter  (for  Kodachrome). 
1  PB  Conversion  Filter    'for  converting  Type  A  to 

daylight). 
1  PB  Filter  Pouch. 

For  All  Standard  Makes  of  Smm's 
PONDER  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles.  Calif. 


}  Nomina  ...  \ 

)*■  The  Tops  in  Title  Letters!  % 

]^  Watch  for  announcement  J 

^  in  this  paper.  ^ 

*  •  * 

)f  Pin  Back  and  Sanded  Back  Title  Letter  ^ 

4-  Sets  for  sale  at  all  leading  camera  shops. 

J  MITTEN   LETTER   CO.  * 

](.  Redlands  California  J 


can  be  exercised  through  the  various 
stages  in  the  growth  of  a  young  bird, 
from  a  naked  baby  just  out  of  the  shell 
to  an  adult. 

I  find  it  never  practicable  to  use  i6 
frames  camera  speed  when  filming  birds 
in  flight,  but  advocate  at  least  twice 
normal  speed  or  32  frames.  In  this  way 
all  rapid  motion  is  smoothed  out,  and 
yet  the  sensation  of  speed  remains. 

Extreme  slow  motion  is  always  capti- 
vating and  serves  as  a  study  in  motion 
analysis.  Here,  as  in  filtered  shots,  great 
dramatic  appeal  can  be  attained  that  is 
interesting  to  everyone.  It  is  something 
to  see  the  long  flight  feathers  of  the 
Turkey  Vulture  bend  on  the  down  beat 
as  he  laboriously  lifts  himself  into  the 
air.  There  is  imparted  a  feeling  of  great 
weight  and  power. 

At  sixty-four  frames  or  four  times 
normal  speed,  it  is  only  necessary  to  ex- 
pose for  two  or  three  seconds.  On  the 


screen,  this  will  be  eight  or  twelve  sec- 
onds in  length — ample  time  for  observa- 
tion of  the  most  interesting  of  wing 
shots.  Slow  motion  will  smooth  out  all 
unsteadiness  and  the  resulting  footage 
is  excellent  to  splice  in  later  where  slow 
motion  shots  at  various  angles  are  ad- 
vantageous. 

It  is  a  lasting  joy  indeed  to  capture 
successfully  on  film  the  charm  and  ra- 
diance of  the  humming  bird;  the  ma- 
jesty of  the  vulture  in  flight;  the  stateli- 
ness  of  the  Great  Blue  Heron,  or  the  re- 
gal form  of  the  Osprey. 

And  you  can  take  it  from  one  who, 
not  so  long  ago  delighted  in  hunting 
birds  and  wild  game  with  gun  instead 
of  a  camera,  that  the  latter  furnishes  far 
greater  pleasure.  Indeed,  as  already  stat- 
ed, I  have  become  not  only  a  home  movie 
hobbyist,  but  an  amateur  ornithologist 
as  well. 


Wltat  to  know  about  ^ilm  .  .  . 


•  Continued  from  Page  10} 

tern  are  three:-  (i)  An)-  number  of  pos- 
itive prints  can  be  made  from  one  neg- 
ative, by  a  much  more  simple  method 
than  making  extra  copies  from  reversal 
film.  (2)  A  film  run  through  the  pro- 
jector repeatedly  for  any  great  length 
of  time  gradually  wears  out  from 
scratching,  dr)-ing  out,  or  otherwise.  If 
that  should  happen  whan  the  negative- 
positive  system  is  used,  another  positive 
can  be  made  provided  the  negative  has 
been  carefully  preserved,  ^"ith  reversal 
film,  however,  unless  a  duplicate  is  made 
at  the  very  beginning,  there  is  little  like- 
lihood that  a  satisfactor)-  copy  could  be 
made  later  when  the  original  became 
scratched  and  worn.  (3)  The  negative 
can  be  edited  and  spliced  together  in 
proper  order  before  making  the  positive 
print,  resulting  in  a  projection  print 
free  of  splices. 

Reversal  film,  because  of  its  lower 
cost  and  inherently  finer  grain  is  the 
popular  film  for  the  amateur  movie 
maker.  It  is  termed  "reversal"  because 
of  the  unique  process  of  developing 
which  enables  the  original  film  to  be- 
come the  positive  print  after  first  be- 
ing developed  to  a  semi-negative  stage. 

Reversal  film  can  also  be  developed 
as  a  negative  when  desired  by  the 
straight  developing  and  fixing  method, 
but  there  is  no  object  in  doing  this  ex- 
cept for  experiment,  because  cost  of 
processing  is  included  in  the  purchase 
price  of  the  film. 

This  brings  us  to  positive,  the  third 
of  the  greup  of  films  mentioned  in  the 
beginning.  It  is  so  termed  because  if  is 
the  film  upon  which  a  positive  print  is 


made  from  the  negative.  This  film  is  de- 
veloped the  same  as  is  negative.  Positive 
is  of  especial  interest  to  the  amateur  be- 
cause it  furnishes  an  inexpensive  stock 
with  which  to  film  titles.  Because  of  its 
high  contrast,  it  provides  a  short  cut 
for  amateurs  to  make  titles  without 
having  to  labor  with  white  ink  and  black 
title  cards.  Vhite  title  cards  lettered  in 
black  and  filmed  with  positive,  produce 
titles  with  a  black  background  and 
white  lettering  when  the  film  is  devel- 
oped. The  values  are  reversed. 

Positive  film  can  be  processed  by  the 
reversal  method  the  same  as  regular  re- 
versal film.  It  can  be  used  in  the  camera 
to  record  most  of  the  scenes  that  can  be 
filmed  with  panchromatic  film  but,  of 
course,  not  with  the  same  results.  Posi- 
tive film,  when  used  this  way,  is  slow  in 
emulsion  speed,  also  color-blind  and 
must  be  used  in  bright  sunlight  with 
considerable  increase  in  exposure. 

Results  are  not  as  good  as  when  regu- 
lar reversal  film  is  used,  the  pictures 
tending  somewhat  toward  the  chalk- 
and-soot  quality.  However,  for  practice 
filming,  positive  can  be  made  to  serve 
with  passable  results.  There  is  no  anti- 
halation  backing  on  positive  film,  there- 
fore great  care  must  be  exercised  in 
shooting  bright  areas  or  brilliant  objects, 
otherwise  halation  will  result — a  condi- 
tion caused  by  the  film  base  reflecting 
back  some  of  the  light  that  reaches  it, 
producing  a  foggy,  halo  effect  in  the 
image. 

Regular  reversal  film,  therefore,  is  the 
proper  one  to  use  for  average  amateur 
filming.  This  is  divided  into  two  quali- 
ties— orthochromatic  and  panchromatic. 


HOME  MOVIES  FOR  MARCH 


PACE  117 


Three  Fine 
FILM  CHESTS 


Manufactured  of  beautiful  quarter-sawed  sycamore  witti 
a  natural  glossy  finish;  lock  corner  construction. 
Brass  plated  hardware,  consisting  of  handle,  lock  and 
key.  hinges  and  lid-stay. 

Solid  wood  partitions  to  divide  reel  cans  and  felt  pads 
on  interior  of  front  and  back  of  chest  to  keep  cans  from 
rattling. 

AVAILABLE  IN  THREE  SIZES  AS  FOLLOWS: 
gram.    8   reel   capacity   200' — $2.95 
8mm.   8  reel  capacity  300' —  3.25 
IGmm.   8  reel  capacity  400' —  3.75 

THE    NEGA-FILE  COMPANY 


EASTON 


PENNSYLVANIA 


CORONA 


BETTER 
BULK 
FILMS 

SPECIAL  ATTENTION— in  the  future  Su- 
per-Pan will  be  known  as  CORONA-Pan.  It 
is  the  same  film  under  our  Registered  Trade 
Name.  When  ordering,  mention  CORONA- 
PAN. 

SAME  PRICE  FOR  I6MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES     DO     NOT     INCLUDE  PROCESSING. 

SPEED  100  Ft.  400  Ft. 

CORONA-PAN                   24-16  $3.15  $11.60 

ORTHOCHROMATIC    ....  12-  4  1.75  6.00 

SEMI-ORTHO                      12-  4  1.30  4.25 

MACHINE  REVERSAL  P ROC ESSI N G— Double  8 
or  I6mni— 100  ft..  85c;  50  ft.,  65c;  25  ft..  50c. 
Special  Delivery  Service  on  All  $5.00  Orders 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

FREE  BOOKLET  on  home  processing  instructions, 
plans  and  formulae  with  orders. 
Single  copies,  15c 

CORONA  FILM  LABORATORIES 

lO-^S  NEW  YORK  AVE.      BROOKLYN,  N.  Y. 


Make  Your  "Own  TALKIES"  with  Filmgraph 

Anyone  can  Diake  an  in- 
stantaneous recording- re- 
producing^ of  sound  on  film 
with  FIL:MGRAPH.  Ideal 
tor  ail  types  of  recording 
and  unusually  adaptable 
for  making  sound  tracks 
for  home  movies.  Model 
AL,  requiring  an  ampli- 
fier, speaker  and  micro- 
phone, will  accommodate 
500' reels  of  FILMGRAPH 
film  for  sound  tracks  to 
match  up  witli  pictures  of  like  length — no  stops,  no 
gaps.  Cost  ot  recording  extremely  low,  in  fact,  but  a 
fraction  of  cost  by  any  other  method.  Price  $125.00; 
limited  special  offering  at  $98.50.  Ask  for  bulletin  54 
or.  better  yet,  rush  order  to  avoid  disappointment. 

MILES  REPRODUCER  CO.,  INC. 

Dept.  HM,  812  Broadway,  New  York.  N.  Y. 


Now  YOU  can  see  it! 

8mm.  and  16mm.  prints  of  "Latitude  26,"  the 
Movie  of  the  Month  described  in  February 
HOME  MOVIES,  now  available  by  special 
arrangement  with  Leo  Caloia,  producer.  See 
this  amateur  screen  hit  of  '42!  200  ft.  8mm., 
!«5.00:  400  ft.  16mm..  ,'S8.(M) 

HOLLYWOODLAND  STUDIOS 

SOUTHGATE  CALIFORNIA 


LEARN  TO 

SOUND 


PRODUCE 

FILMS 


IN    A    PROFESSIONAL  STUDIO 

Writing,  filming,  editing,  recording.  Complete 
sound  film  pniduoed  as  part  of  course.  COOP- 
ERATIVE FILM  WORKSHOP.  Students  pro- 
duce film  for  commercial  distribution. 

HARTLEY  PRODUCTIONS 
20  West  47th  St.,  N.Y.C.  LO.  3-2343 


Panchromatic  is  also  divided  into  sev- 
eral types  according  to  emulsion  speed 
characteristics,  ranging  up  to  the  high- 
speed "Super-XXX"  films. 

Orthochromatic  film  is  not  sensitive 
to  red.  In  other  words,  anything  colored 
red  photographs  black,  and  any  colors 
containing  any  degree  of  red  photograph 
accordingly.  "Ortho"  film,  as  it  is  called, 
is  extremely  fine  grain  and  will  give 
very  excellent  results  unless  trtte  color 
values  are  desired,  and  where  high  speed 
is  not  essential.  There  is  no  reason  why 
Ortho  should  not  be  used  for  all  ordinary 
outdoor  filming.  Most  all  filters  can  be 
used  with  ortho  film,  except  red.  If  a  red 
filter  were  used,  the  film  would  run 
through  the  camera  and  remain  unex- 
posed, and  probably  could  be  used  over 
again. 

One  advantage  of  ortho  film,  for 
those  that  do  their  own  processing,  is 
that  it  can  be  handled  under  a  red  light, 
without  the  use  of  a  desensitizer.  An- 
other advantage  is  that  it  is  cheaper. 
Ortho  film  can  be  used  satisfactorily 
under  artificial  light,  except  that  a  lar- 
ger stop  opening,  or  stronger  lights,  are 
necessary  than  when  panchromatic  film 
is  used. 

Panchromatic  on  the  other  hand  is 
sensitive  to  all  colors,  including  red,  and 
gives  approximately  the  same  degree  of 
brightness  to  each  color  as  seen  by  the 
eye.  Panchromatic  film  can  be  used 
with  all  filters,  including  red.  Restilts 
when  using  a  filter  are  more  pronounced 
with  panchromatic  film,  than  with  Or- 
tho when  using  the  same  filter. 

Panchromatic  film  cannot  be  handled 
under  a  red  safe-light,  but  a  special 
green  safe-light  made  for  the  purpose 
may  be  used.  This  safe-light,  however, 
is  very  faint,  and  is  not  a  great  deal 
of  help.  After  exposure,  panchromatic 
film  may  be  desensitized  before  pro- 
cessing, following  which  it  can  be  han- 
dled safely  under  a  red  light.  The  de- 
sensitizer is  a  solution  through  which 
the  film  can  be  passed  the  same  as 
through  any  other  photographic  solu- 
tion, such  as  developer,  and  it  desensi- 
tizes the  emulsion  so  it  is  not  affected 
by  the  red  light.  It  has  no  effect  on  the 
image  already  recorded  on  the  film 
through  exposure  in  the  camera. 

Supersensitive  Panchromatic  film 
(known  as  S.  S.  Pan),  is  similar  to  or- 
dinary panchromatic,  except  that  it  is 
from  one  to  two  stops  faster  or  four 
times  as  fast.  It  is  better  adapted  for 
filming  under  artificial  light  or  in  poor 
light  either  early  or  late  in  the  day,  or 
on  very  dull  days.  Being  a  fast  film  it 
can  be  used  with  a  slower  lens  than  ordi- 
nary film,  or  with  less  powerful  lights. 
All  filters  can  be  used  with  S.  S.  Pan. 

In  addition  to  the  extra  cost  of  this 
film,  it  has  a  larger  grain  and  while  this 
is  not  noticeable  in  close-ups  or  shots  of 


The  MOVIE  MAKER'S 
FAVORITE 


The  VICTOR 

This  new  ii-incli  "Diffuser-Flector"  for 
No.  z  floodlamps  is  highly  effective,  nseds 
no  diflfusing  screen.  The  strong  spring 
clamp,  swivel  mount  and  lo-ft.  rubber 
cord  and  plug  from  the  push-switch 
socket  completes  this  very  portable  unit. 
See  it  now  at  your  dealer's  or  write  for 
free  instructive  folder.  Price,  including 
excise  tax  $4. 1  5 

JAMES  H.  SMITH  &  SONS  CORP. 
320  Lake  St.  Griffith,  Indiana 


•  Wesco's  New  "VICTORY" 

REEL  FILES 


NO 
METAL 


WILL  SAFELY  PRESERVE  YOUR 
PRECIOUS  FILMS! 

HERE'S  THE  NEWEST,  SMARTEST  AND  MOST 
CONVENIENT  METHOD  OF  RECORDING  AND 
STORING     YOUR     VALUABLE     8MM.  FILM. 


De  Luxe  Library  Se- 
ries of  3  volumes, 
safely  holds  18 — 200 
ft.,  8mm  reels.  Sturd- 
ily built  in  black  or 
brown  fabricord.  Car- 
rying case  with  swiv- 
el hinge  front  cover. 
Complete,  with 
18  plastic  reels  $16.75 
Without  reels  ..  $10.00 


De  Luxe  Individual  Files 
may  be  purchased  separate- 
ly. Holds  6 — 200  ft.  8mm 
reels.  Dustproof.  Makes  cans 
unnecessary.  Removable  in- 
dex for  titling  and  listing. 

Complete,  with  6 

plastic  reels  $4.75 

Without  reels  $2.50 


Unconditionally  Guaranteed!       •       Send  for  Circular. 

WESTERN  MOVIE  SUPPLY  CO. 

HOLLYWOOD  SAN  FRANCISCO 


PACE  118 


HOME  MOVIES  FOR  MARCH 


Commonwealth 

Establishes 
RENTAL  LIBRARY 

lb  mm.  Sou  II. I 

The  best  film  news  of  the 
year  for  home  movie  fans!  Yesterday, 
you  could  only  buy  these  outstanding 
quality  films  from  Commonwealth.  To- 
day, you  may  also  rent  them!  Top  pro- 
ducers and  stars  .  .  .  biggest  Hollywood 
hits!  Have  such  stars  as  Hedy  LaNIarr, 
Charles  Boyer  Leslie  Howard,  etc.,  per- 
form in  your  shows! 

P  n  F  F  I  New  Film  Library  Cata- 
~  *^  ^  ^  '  log.  Write  to  Dept.  23 
for    your    copy  today! 


COMMONWEALTH  PICTURES 

COlrOBATION 

729  Seventh  Ave.,  New  York,  N.  T. 


Make'^Good  Films  Better 
With 

PARK  CINE  TITLES 

Crisp  Artistic!  Economical! 
Give  meaning  to  your  films. 

Send  for  Latest  Catalog 

Park  Cine  Laboratory 

1  20  West  41  St  St.       New  York  City 


The  Price  is  Soon  Forgotten 
But  the  Quality  NEVER 

QUALITY  OUTDOOR  j^C^^tl 
WESTON  -12 

Per  1  CO  Feet  16mm  

No.  1  Pan — Weston-16-12  $3.75 

No.  2  Pan— Weston-32-20   4.00 

No.  3  Pan — Weston-80-40   4.50 

PROCESSING  INCLUDED 

OWEN  LABORATORY 

2819  E.  ANAHEIM  ST.        LONG  BEACH.  CALIF. 


TRIAL 


OFFER 


6  Capsules 

(1  tart.  1,1  >.  (nluTK  For  Tinting  M'.vits 
fQf  25c       """'^  S.'imm.  Slides 

MANSFIELD  PHOTO  RESEARCH 
Dept.  H.M  a.  T'll  .<.  La  Salle  St. 


HURRY! 


SenJ  -Im-  Today. 
Offer  Limited. 
LABORATORIES 

Chicago.  Ill, 


$2 


50 


16mm.  "OUTDOOR" 
or  "AMBERTINT" 

Per  loa-ft.  Roll 
Mafhine-processed,   sprioled  and  mailed, 

Calif'imia  huy-rs  in'-hi'ie  salf-s  tax. 

HOLLYWOODLAND  STUDIOS 

SOUTHGATE.  CALIF. 


large  objects,  there  are  some  shots,  such 
as  those  of  small  objects,  or  distant  scen- 
ery, which  cannot  be  obtained  with  the 
same  clarity  as  on  slower  film.  However, 
S.  S.  Pan  is  best  used,  when  it  is  a  ques- 
tion of  getting  the  picture  with  slightly 
increased  grain,  or  not  getting  it  at  all. 
The  same  thing  applies  to  S.  S.  Pan  as  to 
ordinary  Panchromatic  film,  with  re- 
gard to  use  of  a  desensitizer. 

Kodachrome  is  also  a  reversal  film,  re- 
quiring a  different  and  more  or  less  se- 
cret processing  procedure  as  compared 
to  black  and  white  reversal  films.  Nor 
does  Kodachrome  provide  for  the  lati- 


tude of  error  in  exposure  as  when  black 
and  white  film  is  used.  Therefore  great- 
er accuracy  in  judging  exposure  is  nec- 
essary for  best  results. 

Kodachrome  is  divided  into  two 
types:  "Regular"  for  use  out-of-doors, 
and  "Type  A"  for  use  indoors  under  ar- 
tificial light.  To  use  Regular  Koda- 
chrome indoors  under  artifificial  light, 
a  special  filter  must  be  used  over  the 
lens,  and  the  same  applies  when  Type 
A  is  used  out  of  doors. 

None  of  the  filters  that  may  be  used 
with  panchromatic  films  may  be  used 
with  Kodachrome  with  any  success  ex- 


EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS 

For  Use  with  Good  Reflectorj 


Photoflood 
Lamps 


One 
No.  1 
Lamp 


Two  No,  I  'i 
or 

One  No.  2 
or 

One  No.  R2 


Three  No.  1'$ 
or 

One  No.  2 

and 
One  No.  I 


Four  No,  l'$ 
or 

Two  No,  2'$ 
or 

Two  No,  R2's 
or 

One  No,  2 

and 
Two  No,  I'f 
or 

One  No.  4 


Distance 
Lamps 

to 
Subject 
in  Feet 


3>/i 
A 

5 

5'/2 

« 

*'/2 

7 

7'/2 
8 

»h 
? 

10 

II 


3'/2 

4 

♦A 
5 

9h 
i 

7 
8 

8'/2 

» 
10 
II 
12 
13 
14 
16 


3'/2 

4 

*/2 

5 

5% 
6 

ii/i 
7% 

8'/2 

9'/2 

IO'/2 

II 
12 

l2'/2 

14 

15 
I& 


3'/2 

4 

*/2 
5 

5'/2 

i 

*'/2 

7 

7'/2 

8 

8'/2 
9'/2 

10 
I! 
12 
13 
14 
IS 
17 
18 


•Diaphragm  opening  for  films  with 
Weston  Mazda  speeds  of: 


3 

1  5 

4 

8 

12 

16 

20 

40 

64 

f2.8 

f4.5 

f5.6 

f6.3  ,   

f4.5 

f5.6 

f8 

fir? 

fii 

f4.5 

f2JB 

frs 

fs" 

fT.9 

fS.i 

fr8 

fJLS 

if6.3 









fTi 





fIJ 

fL» 



f2.8 

f5.6 





fT.s 



— 

— 







— 

08 

f4.S 

— 

— 

fl.9 

— 

fTs 

— 

fTs 

fTs 

fT? 

fis 

f3r5 

f3.5 

f5.i 

f6.3 

f8 

f3.5 

f4J 

f«.3 

fTf 

fT.8 

fi.3 

f4J 

fiT 

f2.8 

W 

fTs 

f4^ 

fu 

hT 

CJB 

fO 

fil 

fT? 

f^S 

f2JB 

fTi 

ni 

fTs 

fTi 

IL? 

fis 

fjj 

fla 

fL? 

Mi 



fL? 

fTs 

fT? 

Ki 

nTs 

fS. 

f8 

fll 

Kb 

w 

fiT 

OS 

tt' 

f2.8 

f5.6 

fil 

Ss 

f3.5 

fS.6 

fiTs 

fiT 

f2JB 

f5.i 

«~ 

f2J9 

— 

— 

Mis 

— 

f2.8 

f3J 

f4.5  1  f(.3 

f«r 

fTs 

fir? 

f3J 

fS.i 

fT? 

f3J 

f4.~3 

f2.8 

f4.S 

fS.6 

fTs 

OS 

f3L5 

fTs 



  1  fl.5 

f5.4 

f6.3 

— 

fll 

fS.i 

fi.3 

fTf 

fl6 

f3.S 

— 

mTs 

fi.3 

S~ 

fil 

RS 

ST 

fiT 

f2.8  I  f3.S  I 


I  f2.8 


fl.9 


I 


f I.S  I  fl.9 

H  fTs 


f3J 


f2.8 


I  f4.S 


f3.S 
08 


fl.9 

fTs 


fl.9 

fil 


f5.i  I  fi.3 
Kb 


f4J 

Ss 
fil 


MJ 


f3.5 

as 


f6.3 

Kb 
fTs 


f3.S 

n.8 


f8 

f6.3  i 

Kb 
fTs 

nil 


fll 

f4.~3 

Kb 
mTs 


•For  Weston  speeds  of  popular 
another  page,  (See  Table  of 
This  data  based  on  interiors  and 
For  light  colored  subjects  and 
For   dark  colored   subjects  and 


films  refer  to  Eiposure  Meter  Guide  on 
Contents,) 

subjects  of  medium  color, 

interiors  close   diaphragm   one-half  stop. 

interiors  open   diaphragm   one-half  stop. 


HOME  MOVIES  FOR  MARCH 


PACE  119 


cept  a  haze  filter  and  a  special  polarized 
filter  called  a  Pola-Screen.  The  haze  fil- 
ter is  beneficial  in  cutting  through  haze 
when  shooting  at  high  altitudes.  The 
polarized  filter  comes  in  handy  under 
a  number  of  conditions.  It  will  cut 
through  haze  and  also  subdue  reflections 
and  highlights  from  bright  objects. 

From  the  foregoing  the  beginning 
amateur  may  judge  the  type  of  film  best 


suited  for  his  requirements.  If  they  are 
other  than  those  of  plain  every-day 
movie  making,  it  is  suggested  he  shoot 
a  test  roll  of  the  particular  film  he  thinks 
best  suited  to  his  purpose.  In  this  way  he 
will  gain  from  actual  experience  more 
than  could  be  written  here  about  the 
inherent  qualities  and  the  results  ob- 
tainable from  any  given  film. 


^ovie  o/  the  month  .  .  . 


•  Continued  from  Page  104 

turning  for  more,  she  attempts  to  make 
a  sale  to  her  daddy,  who  declines  but 
promises  to  buy  her  a  roll  of  color  film 
if  she  succeds  in  winning  the  camera. 

Eventually  all  the  lotion  is  sold  and 
the  little  girl  triumphantly  mails  the 
quarters  she  has  collected  for  the  cam- 
era. In  due  time  the  camera  arrives, 
much  to  the  consternation  of  Mrs. 
Geurts  who  then  and  there  vows  to  "put 
an  end  to  all  this  foolishness."  When 
Mr.  Geurts  arrives  home  that  evening  he 
is  shown  the  new  camera  and  produces 
the  roll  of  color  film  for  it  as  promised. 

An  outing  is  planned  for  the  purpose 
of  making  pictures  and  the  entire  family 
set  out  in  their  car  for  the  country.  At 
this  point  is  introduced  some  of  the 
m.ost  breath-tak'ng  scenic  shots  ever  to 
be  filmed  in  Kodachrome.  The  scenes 
were  filmed  in  autumn  when  the  foliage 
of  trees  and  shrubbery  in  the  Utah  hills 
is  a  myriad  of  golden  yellows,  reds  and 
purples  backdropped  by  clear,  deep  blue 
skies.  Mr.  Geurts  and  daughter  are 
sho^n  busily  snapping  pictures  while 
Mrs.  Geurts  and  the  other  children  take 
short  hikes  and  collect  bunches  of  gaily 
colored  leaves. 

The  day's  outing  at  an  end,  the  happy 
family  returns  home  and  the  rolls  of  col- 
or film  are  sent  away  for  processing.  In 
due  time  they  are  returned,  and  collect- 
ed at  the  mail  box  by  Mrs.  Geurts — she 
who  vowed  to  "put  a  stop  to  all  this 
foolishness."  Remembering  her  vow,  she 
senses  opportunity  to  discourage  her 
husband's  further  interest  in  photog- 
raphy. Opening  the  boxes  in  which  the 
mounted  Kodachrome  transparencies 
have  just  arrived,  she  switches  the  tops 
so,  that  evening,  when  father  and 
daughter  are  examining  results  of  their 
photographic  outing,  daughter's  pictures 
apparently  surpass  her  father's! 

w  ith  his  photographic  ego  deflated  at 
the  thought  that  his  daughter,  with  an 
inexpensive  camera,  could  make  better 
pictures  than  he  with  his  "RoUei,"  ex- 
posure meter,  tripod,  and  etc.,  Geurts 
dec'des  to  chuck  the  outfit — advertising 
it  for  sale  in  the  classified  columns. 

But  this  is  not  the  end  of  Mr.  Geurts' 
interest  in  photography.  He  sends  away 


for  a  supply  of  lotion,  and  goes  forth 
to  peddle  it  among  the  neighbors.  At 
first  he  strides  down  the  street  with 
the  air  of  a  super  salesman,  vigorously 
ringing  doorbells  and  taking  the  first 
few  "no's"  like  a  veteran;  but  when 
housewives,  instead  of  showing  interest 
in  his  wares,  give  back  to  him  the 
jars  of  lotion  purchased  earlier  from  his 
daughter,  he  senses  the  futility  of  his  ef- 
forts. No  quitter,  he  continues  his  sell- 
ing venture — clear  through  the  dead  of 
winter — trudging  through  the  snow  to 
ring  doorbells  mechanically  and  take  the 
rebuffs  of  wives  who  earlier  charitably 
purchased  the  worthless  lotion  from  his 
little  girl.  But  this  could  not  go  on  for- 
ever, so  Geurts  gives  up — chucks  the  re- 
maining jars  of  lotion  into  the  family 
medicine  chest  and  mails  a  check  to  the 
manufacturer  for  the  amount  required 
to  "win"  the  camera. 

The  final  scenes  picture  papa  Geurts 
joyously  unwrapping  his  new  camera, 
anticipating  better  picture-making  day 
ahead. 

As  an  original  amateur  screenplay, 
this  story  is  entitled  to  special  recogni- 
tion and  we  do  not  hesitate  to  say  it 
undoubtedly  has  definite  professional 
possibilities.  It  is  certain  to  be  re-filmed 
time  and  again  by  other  amateurs. 

Geurts'  photography  of  this  picture  is 
excellent.  Composition  of  the  breath- 
taking scenic  shots  enhanced  by  brilliant 
autumn  foliage  is  superb.  Camera  an- 
gles and  camera-editing  are  other  high- 
lights. Editing  is  very  well  done  and  al- 
though there  is  some  room  for  improve- 
ment, continuity  flows  quite  smoothly 
on  the  screen.  The  climax  —  that  of 
Geurts  tramping  through  the  snow  in 
dogged  persistence  in  his  selling  efforts 
— is  laughable;  and  from  this  point  the 
story  moves  logically  and  with  good 
timing  to  the  finale.  Titling  of  the  pic- 
ture is  excellent.  From  the  opening  cred- 
it and  main  titles  superimposed  over  a 
moving  background  scene  to  the  final 
sub-title,  good  professional  titling  tech- 
nique is  evident. 

And  Geurts,  as  the  "Snap  Happy" 
camera  addict  is  always  natural,  never 
over-playing  his  part.  Nor  for  that  mat- 


"WATCH  ME 
^GET  THAT  RAINBOW 
—ALL  SEVEN  COLORS' 


MARKS 

POLARIZATION 

PLATE 

If  cameras  could  talk  —  you'd  learn  why  so  many 
shots  you  thought  "perfect"  —  oren'tl  They'd 
tell  how  the  photographic  evil  —  "glare  light"  — 
obscures  vision,  destroys  detail  and  dilutes  color. 
Don't  waste  another  shot.  Go  to 
your  dealer.  Let  him  tell  you 
how  to  shoot  "perfect"  pictures,  f  • 
simply  and  economically,  with  I  ffl 
MARKS  POLARIZATION  PLATES  -  V  H 
Jhe  only  method  fo  i'lght  control 
without  color  absorption. 

% Glare  Light 
Controlled 
KIN  -  O  -  LUX.  INC. 
105  W.  40  ST., NEW  YORK  Clir 


Only  $23.65 


Formerly  $31.50 

complete  editing 
outfit.  No  flicker 
.  .  .  stop  motion 
anywhere  .  .  .  easy 
to  cut  and  splice. 
Complete  .  S23.6.5 

Write  Dept.  C 


^^^^^  — ^'p/f/irrr^MnfA 

CUT  HOME  MOVIE  COSTS 

with  BLACK  and  WHITE  fine 
grain  Semi-Orthochromatic  Re- 
versible Film  for  finest  results — 
lowest  cost. 

16mm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $1.98 

Rating  Scheiner  18 

8mm.  Reversible  Outdoor  Film 

25  ft.  Double  8.  only  98c 

Same  day  processing   included.  Ask  your  dealer  or 
send  money  direct. 

Write   for  prices   for  developing   and   processing  for 
8mm.  and  16mm.  films  bought  elsewhere. 

VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  Broadway.         Dept.  12         Brooklyn.  N.  Y. 


PACE  120 


''ADOLPH  HITLER'^ 

DOING 

THE  LAMBETH  WALK 


3  MINUTES  OF  SIDE-SPLITTING 
LAUGHTER 

presented  by 

OFFICIAL  FILMS 

The  funniest  short  specialty  since  the  inven- 
tion of  the  camera.  Hitler  himself — and  the 
goose-stepping  Gestapo  Hepcats  do  a  thor- 
ough job  of  making  themselves  completely 
ridiculous  to  the  familiar  strains  of  the  Brit- 
ish "Ixambeth  Walk." 

Available  for  the  first  time  in 
ICmm.   Sound-On-Film,  $6.00 

SEND    YOUR    ORDER  TODAY! 


HABER  &  FINK,  INC. 

12-14  Warren  St.,  New  York,  N.  Y. 

Please  send  me  prints  of 

"Hitler  Doing  the  Lambeth  Walk"  16mm. 
Sound-on-Film  at  $6.00  each. 

Name  

Address  


HABER    &    FINK,  INC. 

12-14  Warren  Steet  New  Yok.  N.  Y. 


GOERZ— 

For   regular   and   color  VN^^L^^^^^^^^H^j^ 

movies     of     surprising  ^^Hfefll^V^^^^^ 

quality  —  higli   chro-  ^^P^^^^^ 
matic  correction   .   .  . 

Focal  lengths  15mm  to  lOOmm  —  can  be  fitted 
in  suitable  focusing  mounts  to  Amateur  and 
Professional  Movie  Cameras. 


GOERZ     Reflex  FOCUSER 

—  Patented  — 
For  16mm  Movie  Cameras  —  voids  PARALLAX 
between  finder  and  lens  —  provides  full-size 
ground-glass  image  magnified  10  times.  Adapt- 
able to  lenses  3'  and  up.  Also  useful  as  ex- 
tension tube  for  shorter  focus  lenses  tor  close- 
ups.  Extensively  used  in  shooting  surgical  op- 
erations, small  animal  life,  etc. 


GOERZ    Parallax -Free  FOCUSER 

and  FIELD  FINDER  CONTROL 

No  more  off-center  pictures,  for  Filmo   121  and 
Simplex-Pockette  magnifies  4  and  8x. 

For  Detailed  Iiifiirmation  Address 
Dept.  nM-3 

C.  P.  Goerz  American  Optical  Co. 

317  East  34th  St..  New  York 

AMERICAN  LENS  MAKERS  SINCE  1899 


ter  is  there  any  "hamming"  on  part  of 
any  members  of  the  cast — a  tribute  to 
Geurts'  deft  direction. 

"Snap  Happy"  is  the  kind  of  home 
movie  we'd  like  to  see  "more  of!"  It  is  the 
type  of  picture  that  is  easily  within  the 


•  Continued  from  Page  lof 

the  film.  During  the  filming  of  the  mat- 
ing sequence,  an  electric  fan  was  trained 
on  the  back  of  the  aquarium  to  reduce 
heat  from  the  photoflood  lamps;  other- 
wise the  fish  would  have  stopped  breed- 
ing, according  to  the  filmer. 

Editing:  Well  done,  with  exception 
of  first  views  of  fish  after  the  separating 
glass  was  removed.  Jerky,  disconnected 
movement  of  male  indicated  omission  of 
segments  of  film. 

Titling:  Opening  title  and  "The  End" 
were  professionally  lettered  over  a  col- 
ored illustration  of  the  male  and  female 
Bettas.  Subtitles  were  less  pretentious 
but  nevertheless  good  and  well  centered. 

Remarks:  A  fascinating  study  of  a 
biological  subject,  this  film  combined 
two  hobbies  for  a  documentary  produc- 
tion of  rare  success.  We  would  like  to 
see  the  film  expanded  to  greater  length 
by  more  detailed  explanation  at  the  be- 
ginning and  perhaps  additional  sequen- 
ces on  what  happens  to  the  baby  fish 
when  they  mature,  i.e.,  separation  into 
other  tanks,  etc. 

"Western  Trip — 1940" 

800  Ft.  8  mm.  Koda.  By  H.  W. 

A  picture  account  of  a  5400-mile, 
two-week  motor  trip  through  scenic 
places  of  the  West,  this  film  is  a  collec- 
tion of  well  photographed  pictorial 
shots. 

Continuity:  Opening  abruptly  with 
a  sign,  "U.  S.  Highway  No.  8,"  the  film 
takes  the  viewer  through  South  Dakota, 
on  to  Wyoming,  Utah,  New  Mexico  and 
home  by  way  of  Oklahoma,  Kansas  and 
Ohio.  All  the  national  parks,  national 
monuments  and  scenic  points  are  pic- 
tured en  route. 

Photography:  Many  of  the  shots  were 
taken  in  early  morning  or  in  late  after- 
noon, but  in  the  main  exposure  is  con- 
sistently good.  Too-frequent  panning 
marks  a  major  criticism,  although  this 
cine  fan  is  to  be  commended  for  han- 
dling pan  shots  carefully  and  slowly. 
Some  excellent  telephoto  shots  of  a  ro- 
deo, close-ups  of  a  deer  and  a  lamb  in 
the  arms  of  a  young  sheepherder  were 
outstanding. 

Editings  Without  a  continuity  idea 
to  carry  this  film  along  for  general  in- 
terest appeal,  this  filmer  could  cut  his 
production  in  half  without  losing  any- 
thing of  value.  Several  under-exposed 


HOME  MOVIES  FOR  MARCH 

accomplishment  of  any  amateur  with 
the  simplest  of  cine  equipment;  the  sort 
of  picture  making  that  affords  other 
members  of  the  family  opportunity  to 
have  as  much  fun  as  the  one  who  han- 
dles the  camera. 


sequences  of  Indians  dancing,  Yellow- 
stone in  late  evening,  etc.,  could  be 
omitted  to  advantage.  Overlong  footage 
was  given  to  many  scenic  shots.  A  400- 
foot  reel,  half  its  present  length,  would 
easily  include  the  highlights  of  this  film- 
er's  interesting  trip.  The  material  cut 
out  could  be  saved  for  a  miscellaneous 
reel  for  projection  only  to  members  of 
the  family. 

Titling:  Subtitles  were  exclusively 
provided  by  highway  markers  and  other 
signs.  It  would  have  been  much  better 
to  have  had  a  few  explanatory  titles  in- 
cluded. As  explained  by  the  filmer,  the 
picture  is  usually  projected  with  supple- 
mentary remarks  by  the  photographer. 

Remarks:  By  reducing  length  of  the 
present  film  and  by  taking  a  few  new 
sequences  to  give  the  barest  suggestion 
of  starting  the  trip,  and  the  return 
home,  the  photographer  could  add  a 
wealth  of  general  appeal.  These  could  be 
taken  anytime  and  spliced  in  along  with 
more  titles. 

"Good  Shots"  -M 
175  Ft.  8  mm.  Koda.  By  W.  R. 

This  cine  fan  apparently  had  a  lot  of 
odd  shots  of  autumn  colors  in  close-up 
and  pictorial  scenes  that  did  not  fit  into 
other  reels  which  he  did  not  care  to  dis- 
card. "Good  Shots"  was  his  solution. 

Photography:  Camera  work  in  this 
film  was  of  an  exceptional  quality. 
Filmer  handled  all  pictorial  scenes  from 
two  or  more  camera  viewpoints  to 
achieve  excellent  variety  of  treatment. 
Close-ups  of  fruit  and  flowers  were  par- 
ticularly fine. 

Editing:  In  a  collection  of  shots  of 
autumn  colorations  such  as  this,  the  job 
of  editing  sometimes  requires  brutal 
slashing  of  footage  to  produce  a  com- 
pleted reel  that  sustains  interest.  Cut- 
ting in  this  picture  was  well  handled. 

Titling:  Beautifully  done.  Credit  title 
was  double  exposed  on  a  shot  of  flames 
in  a  fireplace.  Main  title  was  an  archery 
target  with  arrows  sticking  out  of  it, 
and  "Good  Shots"  lettered  across  the 
object.  An  autumn  poem  was  double  ex- 
posed in  successive  lines  on  a  scenic  shot 
to  set  the  theme  of  the  collection  of 
"good  shots." 

Remarks:  Film  lacks  element  of  hu- 
man interest.  Suggest  taking  additional 
pictures  of  persons  looking  at  scenes  and 


JSew  filming.  ideaA 


HOME  MOVIES  FOR  MARCH 


PAGE  121 


splicing  in  at  various  places  in  reel.  Or 
a  running  gag  would  be  acceptable  if 
done  with  finesse  How  about  an  artist 
looking  for  a  scene  to  paint?  Film  him 
always  from  the  rear  as  he  drags  his  easel 
and  paints  around  from  place  to  place; 
show  him  shaking  his  head  each  time  to 
indicate  that  each  scene  fails  to  inspire 
him.  By  not  showing  the  artists  face  and 
keeping  the  camera  always  behind  him, 
attention  will  be  kept  centered  on  the 
scenes — the  "good  shots." 


Finally  make  a  close-up  of  the  artist, 
again  from  the  rear,  with  camera  fo- 
cussed  over  his  shoulder  as  he  paints  a 
still  life  setup  in  an  interior  shot,  pos- 
sibly a  vase  and  a  banana.  This  shot 
might  close  the  picture.  However,  un- 
less this  climax  to  the  running  gag  is 
handled  deftly,  we  would  not  suggest 
attempting  it;  otherwise  the  strictly  pic- 
torial quality  of  a  good  collection  of 
color  pictures  would  be  spoiled  for  the 
average  audience. 


J4ow  to  maize  titleA  hlack . . . 


•  Continued  from  Page  lOO 

away  from  the  lens-to-camera  line 
(X-Y)  as  necessary  to  avoid  reflec- 
tions, and  as  near  to  the  center  of  title 
card  as  possible  without  causing  un- 
even illumination,  as  illustrated  in  dia- 
gram No.  3.  The  result,  then,  will  be 
similar  to  that  shown  in  Fig.  2. 

After  we  are  sure  lights  are  correct- 
ly placed,  our  next  concern  is  the  pa- 
per stock  on  which  titles  are  to  be  Fet- 
tered. In  this  instance  we  are  concerned 
only  with  titles  lettered  in  white  ink 
on  a  black  title  card  and  filmed  with 
reversal  film.  Even  with  lights  cor- 
rectly placed,  reflection  and  "grey" 
instead  of  black  backgrounds  can  re- 
sult. In  most  instances  of  this  kind  the 
trouble   can   readily   be   corrected  by 


using  a  soft-surfaced  black  paper  on 
which  to  letter  the  title  text. 

Amateurs  who  have  strived  unsuc- 
cessfully for  the  ultimate  in  black 
backgrounds,  especially  in  making  titles 
involving  double  exposure  over  picture 
or  moving  backgrounds,  will  be  inter- 
ested in  experiments  made  with  a  vari- 
ity  of  so-called  black  paper  stocks.  Many 
papers  which  appear  black  to  the  eye 
will  not  register  true  black  to  the  cam- 
era. Many  have  a  sheen  which  tends  to 
reflect  light  of  high  intensity. 

In  order  to  show  the  reflective  tend- 
encies of  some  black  papers  commonly 
used  by  amateurs  in  title  making,  they 
were  photographed  by  the  author  in  a 
regulation   titler  with  a  still  camera. 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  loader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  reiudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are; 

1941 

APRIL:  "Fledglings,"  produced  by 
Dudley  Porter,  Beverly  Hills,  Calif.  An 
8mm  Kodachrome  picture,  1  50  feet  in 
length. 

MAY:  "A  Pain  in  the  Night,"  pro- 
luced  by  Rev.  Raymond  G.  Heisel,  El- 
mira,  N.Y.  An  8mm  Kodachrome  picture 
1  25  feet  in  length. 

JUNE:  "Tropical  Ecstasy,"  produced 
by  Dr.  Roy  L.  Gerstenkorn,  Beverly  Hills, 
Calif.  A  16mm  Kodachrome  production, 
350  feet  in  length. 

JULY:  "Within  These  Hills,"  pro- 
duced by  J.  Glenn  Mitchell,  Joplin,  Mis- 
souri.  A    16mm    Kodachrome  picture. 


800  feet  in  length,  with  sound  on  disc 
recording. 

AUGUST:  "Dedication,"  produced  by 
Alex  W.  Morgan,  Toledo,  Ohio.  An  8mm 
Kodachrome  picture,  400  feet  in  length. 

SEPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland,  Ohio.  A  16mm  Kodachrome 
picture,  400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  J.  0.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle,  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Geurts,  Salt  Lake  City,  Utah.  A 
]  6mm  Kodachrome  production,  700  feet 
in  length. 


FILM  PROTECTION 

AGAINST 

CLIMATE  -  SCRATCHES  •  OIL  and  DIRT 

THAT  HITS  THE  SPOT 

MOVIES 


VAP 


STILLS  , 


IRATE 


[ 


Better  photo  finishers  offer  VapOrate 
protection  for  still  negatives. 


VAPORATE  CO  INC 
130  W  A6th  St 
N^w  York  City 


SELL  &  HOWELL  CO, 
1801  Larchmont 

Chicago 
716  No  La  Bres 
Hollywood 


The  Amateur^s  Vital  Need  for 
Making  Professional  Pictures. 
Basic  Model  .  .  .  $9.95 

JncUiding  Excise  Tax 


Baia  CINE  TRANSITO 

WIPE-DISC 

VIGNErrER 
FAOE-DISC 


THE  BAIA  MOTION  PICTURE 
ENGINEERING  CO. 

1G6  Victor  Avenue  Highland  Park,  Mich. 


MACK 

Wide  Angle 
LENS 

for  8mm.  Cameras! 

DOUBLES  Width  of 
Field  Covered! 
Screws    in    FRONT   of    Regular  Lens 
Precise  Focusing  From  2  Ft.  to  Infinity! 

Ideally  suited  to  color  or  black-and-white. 
Models  are  available  for  most  all  regular 
8mm.  movie  camera  lenses.  LIST     c nn 
PRICE,  including  excise  tax  922.00 

MACK 

ENCINITAS 


OPTICAL  CO. 

CALIFORNIA 


Kodachrome 


MAPS  CHARTS  FINE  TITLES 

GEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
1197A   Merchandiise   Mart,  Chicago 


tYourOwn 

Film  Titles 

Photo  titles, atationery.grreetmg 
cards,  bookplates,  advertising. 
Easy  rules  furnished.  Junior 
Outfits  $8.25  up.  Senior  $17  up. 
Print  for  Others.  Big  Profits.  Sold 
direct  from  factory  only.  Write  for 
free  cataloif  and  all  details.  Kelsey 
Presses,  W-94,  Meriden,  Conn. 


PACE  122 


HOME  MOVIES  FOR  MARCH 


COMPARE  THE  RESULTS/ 
COMPARE  THE  PRICEI 
WEIGH    THE  FACTSI 


Do  what  thousands  of 
smart  home -movie - 
making  enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O  LUX  for  the 
finest  in  movie  film 
values. 


RATING 
Weston  8 
Scheiner  18** 


$3.20 

100  it. 

KIN-OLUX  INC. 


105  W.  40th  St.  • 


ISetv  Harrison  D  uraline 
MOVIEIFriTERS  and  KITS 


Xew  SCREW-IX  TYPE  irOUNTED  FILTERS  to  fit 
all  .Smm.  cameras  having  Wollensak  1.9  and  3.5  lenses, 
including  Keystone,  Bell  &  Howell.  Perfex  and  Revere. 
Single  filters  list  at  $2.30  each.  Kits,  containing  two 
filters — Kodachrome  Haze  and  C-4  (for  use  with  type 
"A"  Kodachrome  in  daylight) — a  Snap-on  Shade  and 
Filter-fold  Case  as  above  list  at  $5.50. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
8351  Santa  Monica  Boukvard        Hollywood.  California 


Movies  of 

Kiddies  .  .  . 

will  be  better  if  you  follow  the  filming 
idea.s  contained  in  this  new  32-page  book- 
let just  oft  the  press.  Contains  50  separ- 
ate ideas  on  how  to  film  children — how 
to  make  home  movies  of  your  kiddies  ap- 
pealing and  professional-like.  It's  the  best 


25. 


investment  you  can  make! 

NOTE!  Also  in  preparation  is  the  second 
booklet  in  this  series — ".50  Ideas  for  Va- 
cation Films."  Watch  for  it  next  month! 

VER  HALEN  PUBLICATIONS 

°    mm  .Sunset  Blvd.  HolbHOOd,  Calif. 

o.JLlULiLOJULO-Q-0-O-Q-.g.-O-Q  .0  .OJULfl-Q-g-g-ai 


Negatives  were  developed  in  a  contrast 
formula  and  prints,  reproduced  here  in 
Fig.  5,  made  on  contrasty  paper.  Thus 
every  effort  was  made  to  bring  out  all 
possible  evidence  of  each  paper's  reflec- 
tive qualities. 

A  sheet  of  each  grade  of  black  paper 
selected  for  the  tests  was  wound  around 
a  cylinder  approximately  3  inches  in 
diameter  which  provided  a  variable  sur- 
face for  the  lights  to  play  upon.  The 
photofloods  were  moved  somewhat  closer 
to  the  cylinder  on  which  the  papers 
v/ere  placed  in  order  to  intensify  any 
possible  light  reflection.  The  results  of 
these  tests  are  pictured  in  Fig.  5.  Each 
paoer  was  given  identical  exposure,  de- 
velopment and  printing  time. 

A,  the  first  paper  tested  was  ordinary 
black  show  card  stock.  It  appears  quite 
black  to  the  eye,  but  in  this  test  its  re- 
flective qualities  were  brought  out  quite 
vividly.  Example  B  was  ordinary  black 
art  paper — the  kind  used  by  artists  and 
in  grade  school  art  classes.  It  has  been 
quite  a  favorite  with  title  makers, 
probably  because  it  is  so  readily  procur- 
able; but  from  the  test  it  is  obvious  that 
it  does  not  absorb  much  light.  Test  C 
was  made  on  a  sheet  of  black  paper  that 
comes  packed  between  sheets  of  cut 
photographic  film.  To  the  eye,  it  appears 
equally  as  black  as  the  others,  yet  the 
test  reveals  it  to  be  more  light  absorbent, 
therefore  less  liable  to  reflect  light.  Test 
D  appears  to  reveal  the  best  material  for 
title  backgrounds.  It  photographed  fully 
black  with  no  evidence  whatever  of  re- 
flection. The  paper  used  in  this  test  was 
a  sheet  of  sensitized  photographic  en- 
larging paper — Kodabromide  V-2 — ex- 


posed to  light  as  it  was  developed.  To 
accelerate  the  density  a  few  grains  of 
potassium  bromide  were  added  to  a  full 
strength  M-Q  developer.  With  the  room 
lights  on,  development  was  carried  out 
until  the  paper  was  as  black  as  it  was 
possible  to  develop  it.  It  was  then  fixed 
and  dried.  This  paper  has  a  suede-like 
finish,  and  this  feature  coupled  with  the 
extreme  black  finish,  makes  an  ideal  title 
card  material. 

Of  course  not  all  amateurs  will  go  to 
such  measures  to  make  a  supply  of  title 
card  stock,  but  it  is  a  trick  to  remember 
should  the  ultimate  in  "blackness"  be  de- 
sired for  a  title  making  or  double-expos- 
ure job.  There  are  many  black  paper 
stocks  to  b;  had  which  were  not  in- 
volved in  the  tests  described — papers  us- 
ually difficult  to  find  when  one  needs 
them  most.  There  is  one  black  paper 
stock  introduced  in  recent  years  which 
may  still  be  available  direct  from  whole- 
sale paper  supply  houses.  It  has  a  true 
suede  finish,  and  while  it  is  not  adapt- 
able to  lettering  with  pen  and  white  ink 
or  by  brush,  it  is  ideal  where  titles  are 
to  be  printed  by  letter  press.  The  next 
best  is  a  paper  stock  like  the  one  used  in 
test  C,  and  photographed  with  the  pho- 
tofloods carefully  positioned  for  mini- 
mum reflection. 

All  that  has  been  mentioned  here  re- 
garding placement  of  lights  and  reflec- 
tive surfaces  also  applies  to  the  use  of 
light  paper  stocks  in  the  making  of  titles 
by  the  direct-positive  method,  i.  e.,  with 
positive  film  where  the  finished  title 
comes  out  with  the  values  reversed. 
Equal  care  should  be  exercised  in  the  se- 
lection of  paper  as  well  as  in  placement 
of  lights. 


reader  ipeahi  .  .  . 


•  Continued  from  Page  96 

If  there  were  sufficient  volume  of  this 
work  to  justify  our  giving  up  other  oc- 
cupations and  establishing  proper  labor- 
atory room,  naturally  we  would  have  to 
charge  enough  to  make  it  worth  our 
while. 

It  is  therefore  my  considered  judg- 
ment that  Mr.  Amador  should  organize 
a  Cine  Sound  Club  in  El  Paso,  bringing 
into  it  a  good  man  from  the  radio  sta- 
tion, buy  good  recording  equipment, 
and  do  the  job  themselves.  There  is  a  lot 
of  fun  to  be  had  in  making  one's  own 
sound  and  I  wouldn't  care  to  have  some- 
one deprive  me  of  that  fun  any  more 
than  I  would  think  of  paying  someone 
to  make  my  titles  or  shoot  my  scenes. 

— Arch  B.  Sanders, 
Marshfield,  Ore. 

Revere  Turret 

Here's  opportunity  for  some  cineme- 
chanic  to  aid  a  brother  filmer;  and  if  it's 


a  practical  turret  adaptation.  Home 
Movies  would  like  to  know  of  it,  too. 

Dear  Sirs:  I  own  a  Revere  model  88 
camera.  I  wonder  if  any  movie  amateur 
has  designed  and  built  a  turret  for  this 
camera.  If  so,  I'd  appreciate  hearing 
from  him. 

— G.  D.  True, 
2«  State  St., 
Boston,  Mass. 

More  About  Positive 

About  the  discussion  regarding  posi- 
tive film  for  KodacJjrome  titles,  seems 
this  reader  has  gotten  dou  n  to  business, 
made  tests,  and  has  some  proof  to  offer: 

Gentlemen:  Let  me  add  my  findings 
to  the  long  discussed  subject  of  using 
tinted  direct  positive  titles  spliced  in 
with  Kodachrome. 

In  the  past  I  have  had  the  usual  diffi- 
culty— either  title  or  picture  out  of  fo- 
cus. This  I  attributed  to  the  fact  pres- 


HOME  MOVIES  FOR  MARCH 


PAGE  123 


sure  plate  on  my  projector  operated 
against  the  shiny  side  of  the  film.  For 
this  reason,  I  abandoned  use  of  positive 
stock  for  titles.  Later  I  purchased  a  new 
projector  of  another  make,  found  the 
pressure  plate  of  this  machine  operated 
differently  —  against  emulsion  side  of 
film.  So  running  some  of  my  older  films 
through  the  machine,  I  found  little  or 
no  variation  in  focus  between  the  posi- 
tive titles  and  the  Kodachrome  scenes. 

I  had  discussed  the  problems  of  film 
thickness,  emulsion  variations,  and  curl 
of  film  with  others  and  was  still  dissatis- 
fied even  with  the  improvement  shown 
by  new  projector.  The  net  improvement, 
I  concluded,  was  due  to  fact  pressure 
plate  kept  film  base  on  a  constant  and 
uninterrupted  plane  of  travel  and,  there- 
fore, in  sharp  focus. 

Then  began  a  period  of  experimenta- 
tion. In  order  to  determine  the  effect  of 
a  particular  background,  I  made  my  ti- 
tles on  positive  stock,  then  dyed  the  film 
with  Tintex  dye.  To  my  surprise,  these 
titles  projected  in  sharp  focus  with  the 
Kodachrome  film  to  which  they  were 
spliced.  My  conclusions  are  that  the  dye 
not  only  tends  to  expand  thickness  of 
the  film  emulsion  but  induces  a  meas- 
ure of  film  curl  similar  to  that  inherent 
in  Kodachrome. 

— John  D.  Shields, 
Cincinnati,  Ohio. 

Sn^orma  tion 

please  .  .  . 

•  Continued  from  Page  90 

trolling  temperature  of  solutions  such  as 
putting  ice  cubes  in  the  trays,  placing 
containers  full  of  ice  in  the  trays  (the 
better  way)  or  by  running  the  solutions 
into  the  trays  through  rubber  tubing 
covered  with  ice  or  iced  water. 

Buy  a  good  darkroom  thermometer 
and  keep  a  check  on  your  solutions  and 
wash  water  and  see  if  this  doesn't  end 
your  trouble. 

Second  Developer  (George  a. 

Henry,  Duluth,  Minn.) 

O.  hi  discussing  home  processing  of 
film  with  other  amateurs,  I've  frequent- 
ly been  told  that  the  formula  used  in  the 
second  developer  is  highly  important  to 
best  results  in  reversing  film.  Is  this 
true  and  if  so  what  is  considered  the 
best  formula} 

A.  In  the  reversal  process,  since  the 
"die  is  cast,"  so  to  speak,  in  the  first  de- 
velopment, it  really  doesn't  matter 
much  what  formula  is  used  in  the  sec- 
ond development.  Any  soft,  metal-hy- 
droquinone  formula  will  give  good  re- 
sults. Many  workers  use  D-76  while 
others  use  D-72  diluted  either  i  to  2, 
often  as  much  as  i  to  4.  Often  the  same 
solution  is  used  for  the  second  developer. 


73 it  I  e 

ZJrouble^ 


•  •  • 


•  Continued  from  Page  54 

If  this  is  the  type  of  film  you  used, 
then  the  red  lines  should  appear  quite 
black,  since  the  film  is  not  sensitive  to 
red  at  all.  The  blue  lines  would  be  quite 
light  and  washed  out. 

The  answer  is  to  use  a  panchromatic 
film  which  is  sensitive  to  all  colors,  one 
which  will  record  both  the  red  and  the 
blue  in  truer  proportions.  By  using  a 
yellow  filter  you  can  lighten  the  red 
lines  a  bit  while  at  the  same  time  hold- 
ing down  the  blue.  An  orange  filter 
would  probably  make  the  red  lines  quite 
light  and  che  blue  lines  quite  dark,  while 
a  heavy  red  filter  would  cause  the  red 
lines  not  to  register  at  all  but  make  the 
blue  as  black  as  pitch.  By  controlling 
your  light  through  the  correct  use  of 
filters  in  this  manner,  you  can  exercise 
complete  control  over  the  relative  de- 
grees of  contrast  in  the  colored  lines. 

Q.  How  are  those  titles  made  that  ap- 
pear to  roll  upward  revealing  additional 
lines  of  text} — John  A.  Ball,  Austin, 
Texas. 

A.  Such  titles  are  called  "scroll"  titles 
and  are  made  by  slowly  moving  the  card 
or  paper,  on  which  the  title  text  is  let- 
tered, upward  as  the  camera  records  it. 
To  attain  absolute  smoothness,  some 
kind  of  mechanical  apparatus  is  neces- 
sary. Some  titlers  are  equipped  with 
scroll  devices  which  are  simply  rollers 
above  and  below  the  title  card  holder. 
These  are  slotted  to  take  ends  of  the 
strip  of  paper  on  which  title  is  lettered. 
After  photographing  the  opening  of  the 
title,  the  upper  roller  is  moved  with  a 
small  crank,  winding  up  the  paper  strip. 

Editor's  Note:  The  two  new  twenty-five  cent 
booklets,  "50  Ideas  for  Filming  Children"  and 
"50  Ideas  for  Vacation  Movies,"  recently  com- 
piled by  the  Editors  of  Home  Movies  include 
title  drawings  for  a  number  of  the  suggested 
films. 

Cxperimen  ta  I 
lAJork^ltop  .  .  . 

•  Continued  from  Page  10/ 

of  tube,  providing  opening  for  small 
switch.  This  may  be  a  small  toggle  or 
midget  rotary  switch,  mounted  as  shown 
in  Fig.  2.  Small  7-watt  lamp  is  soldered 
to  stout  wire  lead  extending  from 
switch. 

Complete  unit  may  be  mounted  to 
projector  house  by  means  of  extension 
strip  provided  when  cutting  tube  hous- 
ing. Lamp  should  be  connected  directly 
to  projector  wiring. 

— D.  H.  Tho7nas, 

Martins  Ferry,  Ohio. 


COMPARE  THE  RESULTS/ 

COMPARE   THE  PRICEI 

WEIGH    THE  FACTS/ 

Do  what  thousands  of 
smart  home -movie- 
making enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  for  the 
finest  in  movie  film 
values. 


RATING 
Weston  12 
Scheiner  20** 

$3.75 

100  ft. 


KIN-O-LUX.  INC.  •  105  W.  40th  St.  •  New  York 


ItpC      COMPLETE    WITH  DURABLE 
•POJi         FIBRE  TRIPOD  COVER 
CAMART  PROFESSIONAL  TYPE  TRIPOD 

Finely  constructed  tripod  gives  spring  or 
motor  driven  camera  rigid  support  and 
exceptionally  smooth  pan  and  tilt  move- 
ment. Ideal  tor  all  16mm  or  35mm  Eyemo 
or  Devry  cameras.  Special  head  accommo- 
dates Cine-Special  at  no  extra  cost.  Write 
for  circular. 


CAMERA-MART,//rf.70  W.45ST.N.Y.C. 


I     ■   I  model  with  square  tube  &  shaft 

I  /  I  TRIPOD 

1  *iMii  BEADED 


BEADED 

§€IIEEI^ 


MOTION  PICTURE  SCREEN  &  ACCESSORY  CO. 

534  West  30th  Street,  New  York.  N.  Y. 


MAKE  TITLES  IN  6  COLORS! 

On  Photographic 
Backgrounds 

KEW  -  IXCEXIOI  S 
A-to-Z  COLOR 

Outfit  $6.50 

Everytliing  ynu  need  to 
make  tliniisaiuls  of  titles. 
Xo  special  skill  required. 

It's  easy  .  .  .  It's  Fun 
Outfit  Includes:  A-to-Z  Title  .Maker:  :iu  Fi.ssiii-ettes  in 
Color;  12  sheets  of  S"x  10"  clear,  washable.  Acetate 
Film:  (>  jars  of  special  Colors  (Red.  Yellow.  Blue, 
Green.  Black,  White)  10  Photosrapliic  S"xlO"  Back- 
Siounds :  Title  Frame  (7"xi»")  area;  Tracing  Paper; 
Brush;  t^imple  Instructions,  etc. 

FREE — .Sample  Title  Kil — Write  Toda.v 
See  your  Dealer  or  send  $6.50  direct  to 

A-to-Z  MOVIE  ACCESSORIES 

175  FIFTH  AVE..   Dent,   H  35,   NEW  YORK  CITY 


8mm  FILM  SLITTER 

Slits  16mm  width  film  to  exact  8mm  width.  Die 
cast  body,  hardened  steel  cutting  wheels.  Will 
not  scratch  film.  Precision  built.    Price  S2.50. 

.At  your  dealers 

RALPH  V.  HAILE  &  ASSOCIATES 

'115  WALNUT  ST.  CINCINNATI,  OHIO 


PAGE  124 


HOME  MOVIES  FOR  MARCH 


COMPARE  THE  RESULTS! 
COMPARE  THE  PRICEI 
WEIGH    THE  FACTSI 


Do  what  thousands  of 
smart  home-movie* 
malting  enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  for  the 
finest  in  movie  film 
values. 

RATING 
Weston  50 
Tungsten  40 
Schemer  26° 
Tungsten  24° 


$6.00       I    I  III!  Ill  ill 


100  it. 

KIN-O  LUX,  INC. 


105  W.  40th  St.  •  New  York 


No  more  scratched,  curled  or  dirty 
films  or  prints — and  they're  easy 
to  file  and  find.  Look  like  books 
(S'/g  X  7").  Blue,  green,  red  or  black. 
SLIDE  FILE  holds  300  slides 

2x2"  $1.00 

NEGATIVE  FILES.  3  styles,  35 
mm  (strips  or  rolls)  to  5x7"  $1,00 
PRINT  ALBUM.  Loose  leaf  5 x  7". 
Acetate  covered  mounts..  .  $1.75 

Also  larger  sizes. 
MOVIE  REEL  FILES  8  and 

16  mm  $l-50  and  $1.95 

At  stores  or  sent  direct  prepaid 
on  JO  Days  Money- Back  Trial. 
Write  for  folder  showing  complete  line 


AMBERG  FILE  &  INDEX  CO.  l*i2,KS:« 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  facilities 
BERNDT-MAURER  RECORDER 

CEO.  W.  COLBURN  LABORATORY 

119T-A  Merchandise  Mart  CHICAGO 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  16mm)  you  simply  cannot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo  Bar- 
gain Book  now  being  distributed  throuf^hout  the  U.  S. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading  manufacturers,  describes  them.  The  prices 
save  you  money  in  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
titlers,  editing  outfits,  tripods,  books  on  editing, 
titling,  etc.  This  Bargain  Book  is  invaluable  to  you  as 
an  equiprrent  REFERENCE  book.  Don't  wait  a  day 
longer   to   send    for   your   Free   copy.    Write   us  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  C-9  Chicago.  Illinois 


MONOCOLOR 

double-8mm.    and  single-8mm. 
films  for  all  cameras.  In  bulk,  or 
spooled  ready  for  use. 
Our   Latest  Catalogue   Mailed  to  Yoi 
Promptly.  Send  Name  and  Address  to 

ESO-S  PICTURES 

"Quality    8mm  Service'* 
S945  Central  St.  Kansas  City,  Mo. 


WINDBACKS 


FRAME- 
COUNTING 

Guaranteed    accurate.    Expertly  engineered 
and  installed.  Money-back  guarantee. 
Keystone  ...  SIT. 45      •      Filmo  .  .  .  .S23..50 
Eastman  .  .  .  .S2.'?..-)0 
Precision  Built  Accessories  ior  Every  Need 
Write  Us  Your  Requirements 
CUSTOM  BUILT  CAMERA  ACCESSORIES  CO. 
5712  Cedar  Springs  •  Dallas.  Texas 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur  and  Professional 
16mm  —  8mm 
Black   &   White,   Tinted   and  Kodachrome 
Write  for  our  new  illustrated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N.  Y. 


Keep  ri^ltt  on  Aliooting, 


f 


lOOJ   MNNSYLVAMIA  AVE.   M.W.,  WASHINGTON,   D.  C. 


•  Continued  from  Page  99 

people  to  explore  regions  of  interest 
nearer  home.  It  has  long  been  one  of 
those  unexplained  quirks  of  human  na- 
ture why  those  on  the  Pacific  Coast,  for 
example,  must  travel  across  country  to 
Chicago  or  New  York,  and  the  Eastern- 
er musttou  r  the  West,  in  order  to  satis- 
fy desire  for  a  "change"  or  a  vacation. 
What  the  westerner  travels  east  to  see 
will  now  be  examined  more  closely — and 
filmed — by  the  easterner  who,  up  until 
now,  failed  to  see  the  forest  for  the  trees. 

But  more  important  —  this  sudden 
awakening  to  the  probable  effects  of  war 
on  our  hobby  should  center  our  interests 
more  on  its  other  phases.  We  might  liken 
the  hobby  of  home  movies  to  that  of 
woodworking,  which  so  many  have  taken 
up  in  recent  years.  The  wood  worker 
finds  fascination  in  the  many  things  his 
lathe  or  jig  saw  will  do  and  is  constantly 
led  from  one  project  to  another  by  this 
fascination.  Our  movie  cameras  are 
equally  diversified  in  that,  in  addition  to 
producing  motion  pictures  of  ourselves, 
our  family  and  friends,  they  can  also  be 
utilized  in  filming  titles,  trick  photog- 
raphy, the  filming  of  slow  motion  study 
of  plants  and  flowers  and  of  microscopic 
subjects — not  to  mention  the  projects 
these  new  fields  lead  to  in  the  building 
of  gadgets  and  accessories  necessary  to 
their  exploration. 

One  has  only  to  consider  the  vast 
amount  of  8  mm.  and  i6mm.  footage 
still  untitled  to  realize  the  potential  fun 
that  is  being  overlooked  by  all  amateurs 
who  have  yet  to  set  to  work  designing, 
lettering  and  filming  titles  for  these  pic- 
tures. In  the  past,  many  amateurs  have 
been  too  eager  to  thread  a  roll  of  film 
into  their  camera  and  shoot  scenery  or 
the  kiddies,  show  the  film  a  couple  of 
times  to  members  of  the  family,  then 
forget  about  it.  Such  films  could  have 
wider  appeal,  furnish  much  more  fun  to 
the  amateur  who  could  screen  them 
with  pride  to  his  friends  and  neighbors 
— if  they  were  titled. 

Certainly  plenty  has  been  written 
within  these  pages  every  month  to  show 
how  easy  it  is  for  any  amateur  to  title 
his  own  films.  Those  who  have  not  at- 
tempted titling  thus  far  are  passing  up 
much  of  the  fun  their  camera  affords. 
As  one  amateur  so  aptly  said,  "Now  that 
I've  discovered  what  fascination  there  is 
in  making  titles,  I  should  like  to  devote 
all  my  time  to  titling  if  only  enough 
films  could  be  made  available  to  me  for 
the  puropse." 

And  how  many  amateurs  owning 
cameras,  providing  for  multiple  speeds, 
have  ever  filmed  with  anything  but  the 


standard  i6  frames  per  second  speed? 
Have  yet  to  experience  the  fun  of  mak- 
ing trick  shots  in  slow  motion  or  ultra- 
speed? 

For  those  who  prefer  to  pass  up  the 
mechanical  aspects  of  the  hobby  and 
stick  strictly  to  filming,  there  is  still 
the  production  of  scenarized  pictures  to 
keep  one  busy  endless  days — and  nights, 
too.  Actually  the  real  pleasure  in  pro- 
ducing a  scenarized  movie  lies  not  so 
much  in  actual  recording  of  scenes  with 
the  camera,  but  in  the  preparation  of 
the  play,  the  search  for  locations,  mak- 
ing film  tests  of  potential  players  and 
casting  them  for  roles  in  the  picture. 
Filming  this  type  of  picture  is  becoming 
more  popular  among  individual  clne- 
filmers  as  well  as  club  groups  as  evi- 
denced by  the  number  of  amateur  pho- 
toplays entered  in  1941  contests. 

These  are  just  some  of  the  possibilities 
yet  to  be  explored  by  movie  amateurs. 
These  are  the  hitherto  lightly  traveled 
highways  of  our  fascinating  hobby  to 
be  discovered  by  increasing  numbers  in 
the  months  to  come.  No,  there's  no  rea- 
son whatever  for  slowing  up  in  our  film- 
ing activities,  for  when  we  cannot  film 
afield,  we  can  find  subjects  of  equal  in- 
terest to  shoot  within  our  homes  and 
gardens,  and  fascinating  projects  for  our 
movie  workshops. 


With  tke 
J\eel  Jellowi  .  .  . 


•  Continued  from  Page  92 

from  my  city  or  its  surroundings.  I  also 
would  request  of  Helen  a  very  good 
shot  of  herself.  In  Introducing  this 
grand  person  on  the  screen  I  would  lead 
off  with  a  picture  of  the  bridge  donated, 
then  a  fade-in  of  "Reel  Fellow"  Hel- 
en Smith  of  San  Francisco,  Calif.  In  that 
way,  I  would  not  only  know  them  by 
correspondence,  as  Mr.  White  suggests, 
but  by  sight  as  well.  Soon,  we  are  sure, 
we  would  have  a  library  of  "Reel  Fel- 
lows" that  we  could  enjoy,  because  they 
would  be  living  and  breathing  on  the 
screen  before  us. 

Maybe  my  idea  won't  be  worth  much, 
but  to  me.  If  the  plan  is  ever  really 
formulated,  I  will  ask  outright  for  film 
with  an  accompanying  picture  of  Its 
donor,  and  I  will,  in  return,  do  my  hit. 

Thanking  you  for  patiently  bearing 
up  under  this,  I  remain, 

Your  New  "Reel  Fellow"  Member, 
Mrs.  Carl  Zander. 


ORDER  FOR  SUBSCRIPTION 

!ome  Movies  Magazine 


12  MONTHS  FOR  $2.00  IN  U.  S. 
In  Canada,  $2.00;  Foreign — $3.00 


FECIAL  OFFER:  3  Years  for  $5.00  in  the  U.  S.  A. 


HtvIE  MOVIES 
^  Sunset  Blvd. 
Hiywood,  Calif. 


■  nd  to 
.ddress 

:itv   


State 


□  New  □  Renewal  □  ©ift 


City    State   

□  New        n  Renewal       □  Gift 


Enclosed  find  $   Date    19. 

Sent  in  by   


Address 


j^^^ll  City    State   

I    SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  MARCH 


PAGE  125 


One  J^eel  M^ovleA 


Defense  Garden 

Newfound  interest  in  home  gardens 
as  a  part  of  national  defense  offers  a 
good  opportunity  for  filming  an  inter- 
esting home  movie.  Here's  the  outline  of 
a  plot  on  this  theme  specifically  written 
for  a  family  cast  consisting  of  Dad, 
Mother,  two  sons  and  daughter.  It  can 
be  altered,  of  course,  to  fit  the  needs  of 
larger  or  smaller  family  groups. 

Open  with  a  scene  showing  members 
of  the  family  in  the  backyard  with  nu- 
merous packages  of  seeds.  Father  points 
out  the  area  to  be  dug  up  for  the  garden 
and  delegates  the  boys  to  start  digging. 
Mother  and  daughter  can  be  shown  us- 
ing rakes  to  break  up  the  clods  and  level 
off  the  spaded  earth.  Dad  will  be  very 
officious  in  directing  the  procedure  and 
then  he  will  retire  to  his  comfortable 
lawn  chair  and  presumably  start  to  fig- 
ure out  costs  and  estimated  yield  of 
fresh  vegetables.  This  is  the  beginning 
of  a  running  gag  which  will  poke  fun  at 
Dad  as  one  who  directs  the  show  but 
does  no  work  himself. 

Cut  in  with  close-up  from  a  low  cam- 
era angle  showing  the  rest  of  the  fam- 
ily digging  and  raking  in  the  garden 
plot.  Another  shot  will  picture  Dad 
seriously  figuring  while  resting  in  the 
lawn  chair. 

When  the  earth  has  been  prepared  and 
furrows  formed  for  the  rows,  the  proce- 
dure of  planting  seeds  can  be  shown  in 
close-up.  In  this  way  you  will  be  able 
to  get  interesting  action  shots  of  each 
member  of  the  family  except  Dad,  who 
by  this  time  is  quietly  dozing  in  his 
chair,  pencil  and  paper  lying  in  his  lap. 
A  close-up  of  the  paper  reveals  the  fol- 
lowing optimistic  figures:  "Family  Gar- 
den— Seeds,  $2.00;  extra  spade,  hoe  and 
additional  hose,  $7.50;  total  cost,  $9.50; 
total  estimated  yield  from  garden, 
$2  J. 00." 

A  title  at  this  point  should  introduce 
a  shot  of  the  garden  plot  one  month  la- 
ter. It  is  now  covered  with  a  luxurious 
growth  of  weeds!  In  order  to  facilitate 


Short  of  Filming  Ideas? 

Then  you'll  want'  the  new  booklet, 
"50  Continuity  Ideas  for  Filming 
Children,"  now  available  at  25  cents 
a  copy.  Chuck  full  of  new  story  ma- 
terial, running  gags  and  ideas  for 
short  scenes,  together  with  title 
drawings  for  use  in  typewriter  fitters. 
Ver  Halen  Publications,  6060  Sunset 
Blvd.,  Hollywood,  Calif. 


•  7/  you  have  an  idea  for  a  short  movie, 
something  easy  to  film — send  it  to  the 
editors  for  publication  in  this  department. 
Ideas  that  are  published  toill  bring  the 
contributors  a  100  ft.  i6mm  or  50  ft. 
Smm  film  subject  selected  from  the  cata- 
logs of  our  advertisers.  Address  contribu- 
tions to  ONE  REEL  MOVIES,  Home 
Movies  Magazine,  6060  Sunset, Holly  wood. 


the  shooting  schedule,  fake  the  garden 
location  by  filming  a  patch  of  weeds 
carefully  cut  out  of  a  nearby  vacant  lot. 
Trim  weeds  around  the  patch  to  make 
it  resemble  in  size  the  original  garden 
plot  and  make  the  shot  from  a  high 
camera  angle  in  order  to  exclude  the 
surroundings  which  might  otherwise  re- 
veal the  faked  setting. 

A  long  shot  can  show  Dad  directing 
his  staff  of  gardeners  in  the  business  of 
pulling  weeds,  followed  again  by  a  se- 
ries of  closeups  of  each  member  of  the 
family.  Next  scene  can  picture  Dad's 
back  as  he  walks  away  from  the  camera 
and  sits  down  in  his  garden  chair,  feign- 
ing exhaustion.  Fade  out. 

Fade  in  to  actual  garden  plot  several 
months  later  when  plants  are  of  good 
size.  The  gardeners  are  seen  cultivating 
the  plants.  Dad  is  shown  puUing  a  full- 
grown  carrot;  he  wipes  it  off  carefully 
on  his  pants  and  wanders  back  to  the 
chair  to  eat  it  while  he  does  some  more 
figuring.  To  the  cost  sheet,  now  frayed 
but  legible,  the  following  items:  "Cul- 
tivating tools,  $2.75;  handle  for  shovel, 
$1;  umbrella  for  lawn  chair,  $2.50." 
Another  series  of  close-ups  of  family, 
working,  wiping  sweat  from  brow, 
drinking  water,  etc.  Fade  out. 

Fade  in  to  shot  of  garden  about  four 
months  later.  It  has  really  "gone  to 
pot."  The  daughter  of  the  family  can 
be  shown  trying  to  find  an  edible  deli- 
cacy, finally  pulling  something  out  of 
the  ground  that  proves  to  be  a  spindly, 
forlorn  radish.  A  medium  shot  will  take 
in  the  rest  of  the  family.  This  time 
Mother  will  be  sewing,  the  boys  will  be 
sitting  in  the  shade  and  Dad  again  will 
be  "resting"  in  the  lawn  chair  putting 
the  final  touches  to  his  profit  and  loss 
sheet.  A  close-up  of  the  sheet  can  show 
that  water  cost  of  $10.00  has  been  add- 
ed to  the  original  estimate,  several  ad- 
ditional items  have  been  added  and  total 
cost  of  garden  is  now  over  $25.00.  Pro- 
fit column  itemizes  such  produce  as  10 
carrots,  5  cents;  14  radishes,  7  cents; 
24  bunches  of  spinach,  54  cents,  etc.,  to 
make  a  total  of  $4.65.  The  End. 

— Kenneth  Peters, 
Los  Angeles. 


COMPARE  THE  KBSULTSI 

COMPARE  THE  PRICEI 

WEIGH   THE  FACTS/ 

Do  what  thousands  of 
smart  home-movie- 
making enthusiasts 
are  doing  .  .  .  switch 
to  KIN-O-LUX  forthe 
finest  in  movie  film 
values. 

RATING 
Weston  Tungsten 
100 

Scheiner  Tungsten 
290 

(No  Outdoor 
Ratings) 


$6.40  .o^,''™^^ 


100  it. 

KIN-O-LUX,  INC.  ♦  105  W.  ■Wth  St.  ♦  New  York 


We  know  you're  prntid  of  your  Ifinim  movies  I  We're 
proud  of  our  titles,  too!  They'll  give  your  movies  that 
Hollywood  touch.  Our  Kodaciirome  titles  sparkle  with 
a  brilliant  array  of  color. 

SOUND    TITLES— 10   words  $1.50 

KODACHROME  TITLES— 10  words  $2.50 

[0  words  of  copy  on  silent  film,  (<|  f\/\ 

Postpaid  for  only  ^>  I  ■  W 

SEXn  TRIAL  ORDER  TODAY 

FILMACK  LABORATORIES 

1325  S.  Wabash  Ave.  Chicago,  III. 


Turret  and  backwind  installations  on  8  and  16mm. 
Lenses.  Binoculars  repaired.  Focusing  mounts. 

MACVAN  MFC.  CO. 

3829  El  Cajon  Blvd.  San  Diego,  Calif. 


NOW!!!  Spend  less  to  own  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 

ONYX      ONYX  ONYX 
8  24  Hi-Speed 

100  ft.  16-.  $2.25   $4.25  $4.75 

25  ft.  8/8   1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

RATINGS  — 8-iJ4-50  for  Dayligrht 
Reversal  Processing:  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processing. 
KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO,  ILL. 


FIRST  COME,  FIRST  SERVED! 

While  supply  lasts  —  Latest  Castle  Films': 
"Bombing  Pearl  Harbor  —  Burning  of  S.S. 
Normandie"  and  "Japs  Bomb  U.S.A."  Avail- 
able five  sizes  at  usual  Castle  prices.  (See 
Castle  ads  this  issue). 

HOLLYWOODLAND  STUDIOS 

SOUTHGATE  CALIFORNIA 


When    You    Buy  BAIA 
You  Buy  the  Best 

Precision  Made; 
Guaranteed  Perfect 

$2.50 

From  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
IfiG  Victor 
Highland  Park,  Michigan 


PAGE  126 


HOME  MOVIES  FOR  MARCH 


Handy  Guide  to  Back  Issues 


Valuable  ideas  for  Movie  Amateurs  are  contained  in  every 
issue  of  HOME  MOVIES,  back  issues  of  which  are  available 
in  a  limited  quantity  at  25  cents  per  copy.  Scan  the  list  on 
this  page  of  articles  and  features  published  in  the  past  two 
years  and  order  copies  to  complete  your  files  while  the  sup- 
ply lasts.  Send  orders  accompanied  by  money  to  HOME 
MOVIES,  6060  Sunset  Blvd.,  Hollywood,  Calif 


JANUARY  1940 

Hints  on  Correct  Expo.<;uie — Holly- 
wood Editors  Cut  for  Color  Contin- 
uity— Four  "Hows"  for  Making 
Good  Home  Movies  —  Tricks  One 
Amateur  Uses  to  Make  His  Pictures 
"Sing" — How  16mm  Camera  Finds 
Place  in  Professional  Work — Even 
Beginners  Can  Shoot  Indoor  Movies 
— Titles  Are  Important  and  Easy  to 
Make — "How  to  Make"  Items  on 
Camera  Handle,  Tripod  Head,  Edit- 
ing Safeguard,  Film  Slitting  Aid, 
Film  Cabinet,  Title  Centering  Guide, 
Air-Brush  Backgrounds,  Indoor  Light 
Standard.  Wipe-ofI  and  Mask  De- 
vice. 

FEBRUARY  1940 

Mistakes  a  Beginner  Makes  and  How 
to  Avoid  Them  —  Amateur  Movies 
"Click"  in  Theaters  —  Hints  on 
Daylight  Exposure — Six  Things  a 
Movie  Needs  to  Give  It  "Oomph" — 
Hollywood's  Lighting  Secrets  Opened 
to  Amateurs — Filming  of  Snow  and 
Ice — Novel  Vignetting  Effects  De- 
scribed— Tips  on  Tricks  and  Effects 
— How  to  Build  a  16mm  Continuous 
Printer — "How  to  Make"  Articles  on 
Fading  Device,  Extra  Lens  Holder, 
8nvm.  Reinforcements,  Temperature 
Control,  No-Glare  Projector  Shield. 
Popcorn  Can  Film  Drum,  Film 
Marker,  Simple  Range  Finder. 

MARCH  1940 

Simple  Guide  to  Better  Composition 
— Amateur's  Local  Newsreel  Makes 
Good  —  Spectacular  Trick  Shots 
with  Cine  Camera — How  to  Make 
Table-Top  Movies  with  Hand  Made 
Cast  of  Characters — Confessions  of 
3.  Cinebug's  Wife — "Oomph"  Lighting 
for  Small  Groups — Simple  Way  to 
Unite  Sound  with  Film — Negative- 
Positive  Developing  Kit  Easily  Built 
— Simple  Methods  for  Centering  Ti- 
tles— "How  to  Make"  Articles  on 
Photoflood  Stand.  Emergency  Dark 
■Room,  Remote  Control,  Binocular 
Telephoto,  Complete  Film  Editor, 
Film  Tension  Control. 

APRIL  1940 

Practice  Improves  Home  Reversal 
Results — Professional  Trick  Effects 
Made  Public — Spotlights  Light  the 
Way  for  Better  Filming — "The  Mag- 
ic Wand."  a  Full  Scenario  Complete 
with  Titles  —  The  1940  "Dream 
Camera"  Described — A  New  Device 
to  Speak  Your  Titles — Tips  on  Film- 
ing Trick  "Ghost"  Shots — How  to 
Color  Films  by  Toning — "How  to 
Make  "  Items  on  Camera  Case,  Cen- 
tering Closeups,  Film  Grips,  Editing 
Aid.  Geared  Pan  Head.  Film  Hang- 
ing Bag,  Film  Fastener.  Reel  Book 
Covers. 

MAY  1940 

Showings  for  Shut-ins  Gain  Mo- 
mentum— "The  Family  Champ."  a 
Knockout  Script  for  a  Family  Mo- 
vie With  Titles — Rare  Adventure 
Awaits  Cinefilmers  Down  Mexico 
Way — How  to  Build  a  Robot  Cam- 
era Control — How  to  Pep  Up  Your 
Movies  with  New  Title  Tricks — 
Three  Ways  to  Improve  Exposure 
Quality — There's  No  Mystery  About 
"P"'  Stops — "How  to  Make"  Articles 
on  Centering  Gadget.  Parallax  Cor- 
rector, Accurate  Titler.  Film  Moist- 
ener.  Framing  Kink,  Titler  Tripod 
Mount.  Tlewind  Reel  Retainer,  De- 
vice for  Trick  Shots. 


JUNE  1940 

Hyper-Sensitizing  Aids  Night  Film- 
ing with  Kodachrome — "The  Little 
Housekeeper"  a  Kiddie  Scenario 
Complete  With  Titles— How  to  Make 
Simple  Sound  Effects  for  Film  Re- 
fording — How  to  Build  a  Multi- 
Plane  Titler  for  Novel  and  'Variety 
Titles — How  to  Film  Title  Back- 
grounds in  Motion  —  Title  Center 
Guides  for  Cine  Kodak  8.  Models 
20,  25  and  60,  and  Magazine  Cine 
Kodak  —  How  Any  Amateur  Can 
Build  a  Telephoto  Lens — How  to 
Build  a  200-ft.  8mm.  Film  Magazine 
—  "How  to  Make"  Items  on  Film 
Footage  Counter,  Guide  to  Check- 
ing Film  Speeds,  Fading  Glass,  Film 
Retainer.  Titler  Lighting  Unit,  Pro- 
jector Belts. 

JULY  1940 

Coating  Lenses  Increase  Their 
Speed — "Gold  Is  Where  You  Find 
It,"  Complete  Script  for  a  Home 
Movie,  With  Titles — How  to  Build  a 
Turret  for  a  Keystone  8 — Plane  for 
Home  Theaters — Home  Movie  Shows 
Bring  Cheer  to  Old  Folks — Amateur 
Converts  Filrao  70  to  do  Wind  Back, 
Fades,  Dissolves  and  Wipe  Offs — 
Simple  Test  for  Home  Made  Tele- 
L.ens — Title  Centering  Guides  for 
Cine  Kodak  Molels  E  and  K — '  How 
to  Make  It"  Shorts  on  Non-Skid 
Tripod  Base,  Reflectopod.  Screen 
Tripod  Mount,  Focus  Indicator, 
New  Toning  Idea.  Auxiliary  Lens 
Holder,  Chain  Retractor,  Rewind 
Brake. 

AUGUST  1940 

Perspective  and  Balance  Chief  Fac- 
tors in  Good  Composition  —  Cine 
Club's  Cinematography  Course  Im- 
proves Members'  Technique — Chica- 
go Cinefan's  Home  Theater  Tops 
Them  All — Running  Gags  and  Tie- 
in  Shots  Make  Vacation  Films  Com- 
plete —  Vary  Camera  Speed  for 
Tricks,  Smoother  Action — Title  Com- 
position Simple  as  A,  B.  C. — Titling 
Centering  Guides  for  Filmo  70.  Tur- 
ret 8  and  Single  Lens  8 — How  to 
Make  Gadgets  for  Filming  Under 
Water  —  Basic  Facts  Relating  to 
Lenses — Plans  and  Data  for  Build, 
ing  the  "Glorified  16"  —  "How  to 
Make"  Items  on  Titling  Device. 
Matte  Box  Titler.  Projection  Aid. 
Wipe-Offs.  Film  Tinting,  Editing 
Case.  Reflectors. 

SEPTEMBER  1940 

What  Type  of  Film  to  Use  for  Vari- 
ous Tasks — Basic  Facts  of  Light  and 
Lenses  in  Cine  Photography — How 
to  Make  a  Wind-Back  for  Less  Than 
Five  Dollars — Illustrations  for  Film- 
ing a  Simple  Animated  Cartoon — 
Title  Centering  Guides  for  Keystone 
Model  K-8.  Model  141  Filmo  and 
Model  121  Filmo — Pro  Results  With 
Amateur  Equipment  in  Home  Pro- 
cessing— Details   of   Gear   Box  for 


"Glorified  16  " — "How  to  Make"  Ar- 
ticles on  Dual  Tripod  Head,  Reel 
Containers,  Photo  Lamp  Protection. 
Gas  Pipe  Rewinds.  Switch  That 
Saves  Lamp.  Automatic  Pilot  Light. 
Telephoto  Lens,  Projector-Editor — 
How  to  Plan  the  School  Film — Edu- 
cational Film  Treatments. 

OCTOBER  1940 

Herman  Bartel,  Winner  of  1940 
Lloyd  Bacon  Trophy  for  Best  Ama- 
teur Movie.  Tells  How  He  Produced 
"Angels  Are  Made  of  Wood  " — A 
Demountable  Turret  Any  Amateur 
Can  Build — Accurate  Alignment  Es- 
sential in  Animating  Cartoons — It's 
Easy  to  Tint  and  Tone  Your  Films 
— What  An  Auxiliary  Lens  Will  Do 
— Are  You  Prepared  for  Indoor 
Filming  —  Detail  Depends  Upon 
Emulsion  —  Frame  Counters  and 
Gears  for  "Glorified  Sixteen"  — 
Teach  Your  Dog  to  Act  in  Home 
Movies — Title  Centering  Guides  for 
16mm.  Bolex,  16mm.  Victor  and 
8mm.  Keystone  Cameras — "How  to 
Make"  Shorts  on  Film  Slitter,  Lens 
Case,  8mm.  Reverse  Action,  Film 
Cleaner,  Stage  Curtain  Control,  Me- 
ter Dial,  Pola  Screen  Guide. 

NOVEMBER  1940 

The  Title  Trick  That  Won  1940 
Award — The  Lowdown  on  Continuity 
— Completing  Assembly  of  "Glorified 
Sixteen"  —  Professional  Points  on 
Editing  Home  Movies — How  to  Get 
Synchrosound  with  8mm.  16mm. 
Movies — Films.  Like  Rare  Volumes. 
Sought  by  Collectors — Five  Factors 
of  Successful  Cinehotography  — 
Seventeen  Cine  Clubs  Stage  Big 
"get-acquainted  Funfest  —  Title 
Centering  Guides  for  8mm.  Bolex. 
Cine  Kodak  "90  "  and  Revere  8mm. 
Cameras — "  How  to  Make"  Articles 
on  Projector  Turntable.  Ink  for 
Glass,  Drum  Motor.  Tripod  Level, 
Device  for  Ultra  Close-Ups,  Tele- 
photo Lens.  Filter  Safety  Guard. 
Speed  Checker. 

DECEMBER  1940 

Some  New  Ideas  for  Christmas  Film- 
ing— Mother.  Dad  and  the  Children 
Star  in  a  Christmas  Scenario.  Com- 
plete with  Titles — J.  AUyn  Thatch- 
er Tells  How  He  Filmed  His  Prize- 
icinning  Film.  "Christmas  Well 
Spent" — Build  All  Your  Own  Equip- 
ment As  One  Cinebug  Did — A  Turret 
With  Built-in  Tele-Lenses  for  Key- 
stone 8 — Three  Ideas  That  Make 
Titling  Easier — Tips  on  Make-up  for 
Home  Movies  —  Zone  Lighting  for 
Cine  Photography — Title  Centering 
Guides  for  Univex  Models  B-8  and 
C-8.  and  Keystone  16mm.  Cameras 
— Final  Conversion  Steps  for  "Glor- 
ified Sixteen" — Lighting  Interiors  in 
Teaching  Film  Productons — 'How 
to  Make  "  Items  on  Title  Background 
Effect,  Glare  Shield.  Gas  Pipe  Ti- 
tler Kink.  Focusing  Aid.  Humidor 
Tabs.  Projection  Screen. 


JANUARY  1941 

You  Can  Make  Good  Movies  Right 
from  the  Start — How  to  Use  Your 
Movie  Camera — How  To  Edit  Your 
First  Movie — Titfing  Provides  the 
Finishing  Touch — Moves  of  Children 
Can  Be  Interestng  Too — A  B  C  of 
Lighting  for  the  Beginner — Shadows 
Lend  Artistry  to  Cine  Photography 
— The  "Glorified  Sixteen"  Bag  of 
Tricks — School  Sells  Activities  with 
16mm.  Movies —  "How  to  Make' 
Ideas  for  Background  Prop,  Moving 
Backgrounds,  Fade-in  Control,  Beer 
Can  Film  Viewer,  Background  for 
Miniatures.  Projection  Aid,  Ironing 
Board  Titler,  Editing  Outfit. 

FEBRUARY  1941 

Music  Hath  Charms  for  Your  Mo- 
vies —  How  to  Get  Panchromatic 
Results  with  Positive  Film — A  Home 
Made  Single  Frame  Release  for  the 
Keystone  Eight — Editing,  Not  Foot- 
age, Makes  the  Picture — How  to  Use 
Your  Tripod— Title  Editing  Same  as 
in  Silent  Picture  Days — Showman- 
ship in  Screening  Movies  '"Ups"  Au- 
dience Interest  —  Your  Movie  De- 
serves a  Name — "How  to  Make" 
Ideas  on  Camera  Support,  Parallax 
Corrector,  Lamp  Saver,  Duplicating 
Printer,  Centering  Titles,  Rolling 
Block  Titler. 

MARCH  1941 

Limitations  of  Positive  as  a  Rever- 
sal Film  —  Print  Your  Titles  Like 
Professionals  Do — Mask  Shots  and 
Montages  with  Any  Camera — De- 
scritpion  of  1941  Version  of  Smm. 
"Dream"  Camera — Surprise  Open- 
ing. Snappy  Finish  Make  Movies 
Click— Have  You  Ever  Tried  Making 

Titles  How  to  Take  Care  of  Your 

Films — A  Dual  Turntable  Outfit  Any 
Amateur  Can  Build — Pep  Up  Your 
Movie  with  a  Running  Gag — "  How 
to  Make  It"  Ideas  for  Lens  Adaptor. 
New  Use  for  Polaroid.  Hypersensi- 
tizing.  Frame  Counter.  Camera  Han- 
dle, Footage  Guide.  Tripod  Dolly, 
Processing  Tray.  Fading  Device. 
16mm.  Enlargements. 

APRIL  1941 

Synchronized  Sound  for  Your  Filmo 
Eight — Editing  Puts  the  Punch  in 
Movies — How  to  Build  Automatic 
Wipe-off  Device  for  Keystone  Eight 
— An  Experiment  in  Three  Dimen- 
sional Movies — How  to  Use  Your  Ex- 
posure Met«r  —  How  One  Former 
Amateur  Makes  Money  with  His 
Movies — How  to  Make  Split  Stage 
Trick  Shots — There's  Extra  Latitude 
in  a  Focusing  Lens — Improved  For- 
mula Cures  Halation  Bugaboo  • — 
"How  to  Make  It  "  Ideas  on  Revolv- 
ing Titles.  Toning  Formula.  Fading 
Device.  Cement  Saver.  Viewfinder, 
Reflector  Surface  Saver.  Film  Fast- 
ener. For  Brighter  Pictures,  Camera 
Speed  Check 

MAY  1941 

Why  Not  Make  a  Lecture  Film  

Home-Made  Automatic  Fader  for 
Keystone  Eight — Tips  on  Home  Re- 
versal of  Panchromatic  Film — How 
to  Make  Trick  Movies — How  to  Cen- 
ter Titles — Plot  is  the  Backbone  of 
Every  Movie — Theme  Music  for  Va- 
cation Movies — Parade  Film-:  Suc- 
cessful When  Carefully  Planned — 
"How  to  Make  It  "  Ideas  on  a  New 
Title  Kink.  8mm.  Reverse  Action. 
Cleaning  Film  Gate.  Cement  Bottle 
Holder.  20-Cent  Range  Finder.  Cen- 
tering Close-Ups.  Lens  Shade.  Shoot- 
ing and  Editing  Record.  Simple  Ti- 
tle Letters.  Sound  Effects — Corrected 
Centering  Guide  for  Cine  Kodak  90 
Magazine  Eight. 

JUNE  1941 

Best  Vacation  Movies  are  Planned 
in  Advance — Scenery  Isn't  All  There 
Is  to  Shoot — Bring  Back  a  Laugh  in 
Vacation  Movies — Summer  Time  Is 
Filter  Time — Music  F^^rnishes  Plot 
for  Outing  Film — Binocular  Cameras 
to  Patrol  Race  Tracks — Alaska  Calls 
the  Camera  Fan — Six  Factors  Af- 
fecting Success  of  Positive  Titles — 
"How  to  Make  It  "  Ideas  on  Printer 
Conversion.  Low  Cost  Filters. 
Rangefinder  Club  Pilot  Light 
Switch.  Viewfinder  Mask.  Gadget  for 
Removing  Film  Spools.  Background 
Trick.  Colored  Titles.  Improved  Film 
Viewer.  Tripod  and  Head. 

Subsequent  back  issues  also 
available  at  same  rate. 


USE  THIS  COUPON  TO  ORDER  BACK  ISSUES 


HOME  MOVIES,  6060  Sunset  Blvd..  Hollywood.  Calif. 

Please  send  back  issues  checked  below.   1  am  enclosing  25c  for  each  copy  selected. 


□  JANUARY 

□  FEBRUARY 

□  MARCH 

□  APRIL 

□  MAY 

□  JUNE 


1940 
1940 
1940 
1940 
1940 
1940 


□  JULY 

□  AUGUST 

□  SEPTEMBER 

□  OCTOBER 
n  NOVEMBER 

□  DECEMBER 


1940 
1940 
1940 
1940 
1940 
1940 


JANUARY 

1941 

c 

FEBRUARY 

1941 

MARCH 

1941 

□ 

APRIL 

1941 

□ 

MAY 

1941 

□ 

JUNE 

1941 

Name  

Street  &  No  City. 

My  Remittance  Totals  $  


.State. 


HOME  MOVIES  FOR  MARCH 


PACE  127 


HOME      MOVIE  Available  In  Colois! 


TITLES 


Titles  appearing  in  HOME  MOVIES  each  month  are  now  available  in  colors 
for  Kodachrome — printed  in  color  on  tinted  stock.  Color  reproductions  of 
titles  appearing  in  the  January,  February  and  March  issues  are  now  ready — 
specially  priced  at  25c  per  set  of  eight  titles,  3  sets  for  50c.  Remit  with  order 
to  HOME  MOVIES,  Hollywood,  Calif. 


TRHNSPDRTHTIDIII 

TnroH(jUwe^jt 


PACE  128 


HOME  MOVIES  FOR  MARCH 


CLASSIFIED 


IDIERTlSIK 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  Cine  leadership  displayed  more 
than  ever  by  magnificent  choice  of  fine  equip- 
ment in  these  trying  times: 

USED  CAMERAS 
8mm.  Bell  &  Howell  Single  8.  F:3.5  lens,  case, 
.522.50. 

Bmm.  Keystone.  F:3.5  lens,  $18.50. 
8mm.  Revere,  F:2.5  lens,  case,  $43.50 
16mm.  Bell  &  Howell  Model  75,  Cooke  F:3.5  lens, 
$34.50. 

16mm.  Bell  &  Howell  70A,  3.5  Cooke,  $44.50. 

16mm.  Bell  &  Howell  121  Magazine,  1"  F:1.8  fo- 
cusing, S77.50. 

16mm.  Bell  &  Howell  70DA,  1"  F:1.8  Cooke, 
20mm.  F:3.5  Cooke  and  3"  F:5  WoUensak,  case, 
$235.00. 

16mm.  Bell  &  Howell  Automaster.  1"  F;2  Xenon, 
2"  P:2.8  Acura,  15mm.  F:2.7  wide  angle,  case, 
$272.50. 

16mm.  Victor  3,  1"  F:2.7.  $47.50. 

16mm.   Victor  3.   1"  Cooke  focusing  mount.  1" 

F:1.5  Wollensak.  3"  F:4  Wollensak,  S125.00. 
16mm.  Simplex,  magazine,  1"  F:1.9  with  optical 

finder,    3"    P:4.5    Trioplan    Telephoto,  case, 

$89.50. 

16mm.  Movikon,  Sonnar  F:1.4,  coupled  range 
finder,  case,  $295.00. 

LENSES 

3'  F:1.5  Kino  Plasmat  fitted  for  C  mount  or 

coupled  for  Leica,  $135.00. 
4';"  F:2.8  Trioplan,  type  C  mount  or  coupled  for 

Leica,  $85.00. 
V  F;0.99  Dallmeyer.  Type  C  mount,  $110.00. 

USED  PROJECTORS 
16mm.  Kodascope  EE  Series  II,  750  watt  lamp, 

$62.50. 

16mm.   Bell  &  Howell  57A,  reconditioned,  400 

watt  Lamp,  case,  $47.50. 
16mm.  Bell   &  Howell  Model  57GG,   375  watt 

lamp,    variable    resistance,    voltmeter,  case, 

$64.50. 

16mm.  Bell  &  Howell  Auditorium  Projector,  1600 
ft.  capacity,  1200  watt  lamp,  2"  F:1.6  lens,  case, 
$315.00. 

USED  SOUND  PROJECTORS 
Victor  Animatophone  Model  33,  750  watt  lamp. 
10  watt  output,   1600  ft.,  speaker  and  case, 
$217.50. 

Victor  Animatophone  Model  40A.  new  condition, 
750  watt  lamp,  20  watt  output,  speaker,  $275.00. 

Limited  Number;  Discontinued  new  model  Craig 
Jr.  16mm.  animated  Editor,  Splicer  and  Re- 
wind.  Regularly  $31.50:   our  price,  $26.80. 

Just  out — complete  revised  cine  price  list  cover- 
ing largest  assortment  in  the  country  includ- 
ing sound.  Free  on  re^juest. 

BASS  CAMERA  COMPANY.  Dept.  HC.  179  W. 
Madison  St.,  Chicago,  Illinois. 

•  FULL  LIST  PRICE  ALLOWED  for  your  Model 
20  Cine-Kodak  on  Eastman  Model  90  8mm. 
camera:  for  your  Model  E  16nim.  projector  on 
Bell-Howell  Filmomaster;  for  your  Revere  3.5  on 
Revere  Turret;  for  your  Model  50  Kodascope  on 
new  Revere  projector;  for  your  A8  Keystone  on 
new  Ampro  or  Bell-Howell  8mm.  projector.  Write 
for  other  liberal  allowances.  EQUIPMENT  FOR 
SALE— PROJECTORS:  Bell-Howell.  32  valt,  as 
new  $49.50:  500- watt  BellHowell  Mode  57.  as  new 
$57.50  with  case;  Bell-Howell  Showmaster,  fine 
condition.  $150.00:  Brand  new  Bell-Howell  Mod- 
el ST  750-watt  with  case,  $115.00:  Brand  new 
Bell-Howell  750-watt,  Model  SU  with  variable 
resistance  and  case  $149.50:  Bell-Howell  Acad- 
emy Filmosound.  demonstrator,  new  guarantee. 
$275.00:  Brand  new  Bell-Howell  Walnut  case 
Utility  Filmosound.  $335.00:  CAMERAS:  8mm. 
Bolex  f  1.9  lens,  as  new,  $195.00;  16mm.  Bolex, 
brand  new  with  Hektor  f  1.4  lens.  $295.00: 
Brand  new  Victor  Model  5  with  f  1.5  lens, 
J 149. 50:  Brand  new  Bell-Howell  Automaster, 
f  2.7  lens,  as  new,  $159.50:  Eastman  Model  A 
16mm..  hand  crank,  f  3.5  lens,  ideal  for  printer, 
$29.50;  Brand  new  8mm.  Bolex  with  Hugo  Meyer 
fl.5,  $275  00;  Bell-Howell  8mm.  Turret  with 
back-wind,  f  2.5  Cooke,  as  new,  $135.00:  Bell- 
Howell  70DA  equipped  for  motor  drive.  200-foot 
magazine  and  case,  fl.5  lens.  $349  50.  LENSES: 
Eastman  1-inch  4.5,  for  Bell-Howell.  Revere  or 
Keystone  8mm.,  as  new,  $29.50:  2-inch  1.5  Zeiss 
Sonnar  for  8  or  16mm.  cameras,  $75.00:  6-inch 
Hugo-Meyer  4.5.  fine  condition,  $79.50;  Cooke 
'i-inch  1.4  for  Bell-Howell  8mm..  S79.50;  8mm. 
wide  angle  lens  with  view  finder.  $22.00:  1'-:- 
inch  1.9  Dallmeyer.  brand  new.  $55.00;  2-inch 
Dallmeyer  1.9.  brand  new  $59.50;  1-inch  1.5 
Dallmeyer,  brand  new.  $62.50:  1-inch  1.9  Dall- 
meyer, brand  new.  $49.50:  I'i-inch  Dallmeyer 
f4.  new,  $34.50:  2-inch  Eastman  1.6.  as  new. 
069.55;  4'2-inch  2.7.  as  new,  $69.50.  Extra  Meaa- 
zine  for  Cine  Special,  as  new.  $75.00.  $169.00 
Webster  Recorder  and  Plavback.  brand  new. 
$79. 50.  WRITE  FOR  BARGAIN  LIST.  NATIONAL 
CAMERA  EXCHANGE.  Established  1914.  11  South 
Fifth  Street.  Minneapolis.  Minnesota.  

•  2  TELEPHOTO  lenses — Eastman  78mm.  f '4.5, 
$30.00;  Taylor-Hobson-Cooke  3H"  f'4.5.  $60.00. 
MOEHRtNGS,  Inc.,  69  Exchange  St.,  Lynn,  Mass. 


Have  you  Some- 
thing to  sell? 


Turn  it  into  cash  with  a  Home  Movies  classi- 
fied ad! 

RATES:  Ten  cents  per  word;  minimum  charge, 
S'i  cash  with  order.  Closing  date,  10th  of  pre- 
ceding month.  HOME  MOVIES  does  not  guaran- 
tee goods  advertised.  Send  ad  copy  to  6060  Sun- 
set Boulevard,  Hollywood,  California. 


EQUIPMENT  FOR  SALE 

•  BOLEX  camera — 8mm,  2  years  old,  shot  2000 
feet.  Complete  with  '2'  Hugo  Meyer  Kino  Plas- 
mat f  l.5  lens  and  Dallmeyer  I'i'  f  1.9  tele- 
photo  lens.  Beautiful  leather  case.  Original  cost 
over  $450.00.  For  quick  sale,  $250.00.  Best  camera 
obtainable.  Must  sell.  W.  M  BOLLENBACH,  2304 
Long  Ave,  St.  Paul.  Minn. 

•  MODEL  5  16mm.  Victor  camera,  f/1.5  WoUen- 
sak  lens,  genuine  Bengal  cobra  leather  case, 
tilt-top-tripod,  pocket  titler,  Craig  splicer,  new 
— all  for  $200.00.  CECIL  T.  WALLACE,  Wash- 
ington, Arkansas. 

•  MAKE  your  own  8-16mm  action  filmviewer. 
Easy  to  construct.  No  shutter  or  moving  parts. 
Film  appears  as  moving  pictures.  Send  $1.00  to- 
day for  blueprints  and  instructions.  BUCKLEY 
BROS.,  1188  Broadview  Ave.,  Columbus,  Ohio. 

•  VICTOR  5 — turret  front,  critical  focuser, 
backwind  and  5  speeds.  Perfect  condition,  $97.50. 
No  lens.  HERMAN  B.  CURLEE.  1628  E.  78th  St., 
Cleveland.  Ohio. 

•  SACRAFICE  —  practically  new  16mm.  Bolex 
camera  complete  with  one  inch  f  1.5  Wollensak 
lens.  First  check  for  $250.00  takes  it.  Write  BOX 
M-3,  HOME  MOVIES,  6060  Sunset  Blvd.,  Holly- 
wood, Calif. 

•  VICTOR  16mm.  sound-on-film  projector,  good 
condition,  $150.00.  Also  Simplex  magazine-load- 
ing 16mm  camera,  f  3.5  lens,  $40.00.  DORIS 
WEBER,  Webster,  New  York.  

•  FOR  SALE — Eastman  Cine  Special,  f '1.9  lens, 
extra  magazine,  carrying  case.  Used  very  little. 
Price  $325.00.  Write  L.  J.  FRANKEL,  P.  O.  Box 
1195,  Charleston.  W.  Va. 

•  STANDARD  16mm.  projector,  750  watt,  with 
motor  rewind,  improved  shutter,  and  rheostat 
speed  control.  Will  sell  for  $54.50.  10-day  money- 
back  guarantee.  Write  BOX  M-2.  HOME 
MOVIES,  6060  Sunset  Blvd..  Hollywood.  

•  CRAIG  16mm.  Viewer.  Never  been  used.  List 
$41.50.  First  $35.00  takes  it.  HENRY  W.  TAYLOR, 
University  Box  1546,  Austin,  Texas. 

V/ANTED 

•  NOTICE!  Will  pay  3c  each  (4c  in  trade)  for 
usde  50'  8mm.  projection  reels:  30'  8mm.  pro- 
jection reels,  2c  each.  ESO-S,  3945  Central,  Kan- 
sas City,  Missouri. 

•  WANTED  used  8mm. -16mm.  films,  cameras, 
projectors.  Spot  cash  for  anything  photographic. 
We  sell,  trade.  BOBS,  154  East  47th  St..  New 
York  City. 

KODACHROME    FILM  RELEASES 

•  NOW!  Sensational  new  Kodachrome  film  sub- 
jects. 8-16mm..  including  startling  Waikiki  Hula 
Girls.  Also  140  BW  subjects.  60  cents,  up.  Lists, 
stamp  JENKINS.  392.  Elmira.  N.  Y. 

•  HELLO!  Have  you  our  new  1942  film  lists? 
Exclusive  Kodachromes,  unusual  subjects,  allur- 
ing masterpieces.  Write  ERWINE'S  ASSOCIATED 
ENTERPRISES.  Allentown,  Penna. 

«  KODACHROME  TRAVEL  FILMS.  Latest  re- 
leases  now  available  for  distribution,  in  8  and 
16mm.  A  postcard  will  bring  listings.  KENWOOD 
FILMS.  818  E.  47th  Street.  Chicago.  111. 

FILM  RELEASES 

•  8-I6MM.  latest  releases:  ■'Burning  of  S.S. 
Normandie — Bombing  of  Pearl  Harbor;"  "Russia 
rights."  Many  other  subjects,  silent  and  sound. 
Bargains  in  cameras,  silent-sound  projectors. 
Films  rented  everywhere.  Free  Illustrated  cata- 
log fwith  sample,  10c).  GARDEN.  317  W.  50th 
St.,  N.  Y.  City.  

•  NEW  COLOR  transparencies  and  motion  pic- 
tures of  Southwest  Indian  ceremonies  and  home 
life.  Lectures.  E.  P.  HUNT,  Stanford  University, 
Calif.  

•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  Bldg.,  Boston,  Mass. 


FILM  RELEASES 


•  HOLLYWOOD  productions  galore!  Hundreds 
to  choo.se  from!  Bulk  film.  Bargain  lists  yours 
for  the  asking.  ERWINE'S  CINE  LABORA- 
TORIES.  Allentown.  Pa.  

•  "BRITISH  Commandos"  and  "Japs  Bomb 
U.  S.  A."  Castle  films  now  in  stock.  Films  ex- 
changed. 50c.  Bargain  lists,  3c.  HOFFMAN  FILM 
SERVICE,  57  Broad,  Albany,  N.  Y.  

•  8MM.  FILMS!  New  Castle  releases.  Good  used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL 
FILMS.  Dept.  HM-342,  2221  W.  67th  St.  Cleve- 
land. Ohio. 

•  FREE  art  "End  '  title  in  8  or  16mm.  Exclu- 
sive  adult  subjects  catalog.  SAVOY  PRODUC- 
TIONS. 1157'2-H.  N.  McCadden  PI.,  HoUvwood, 
Calif.  

•  16MM.  MOVIES,  loaned  you  Free — not  rent- 
ed. Thousands,  all  subjects,  sound  and  silent. 
List  10c.  SUSQUEHANNA  SERVICE,  B-509, 
Dept.  M.  Steelton,  Penna. 

•  EXCHANGE  8mm.  200'— 16mm.  400'  films,  75c. 
Largest  assortment  in  America.  Bargains  on  li- 
brary subjects.  Free  list.  GARY  FILMS,  369  E. 
55th,  Brooklyn.  N.  Y.  

•  24  FILMS  yearly!  Round-robin  film  exchange.  8 
or  16mm.,  $1.00.  Write  MOVIE  AMATEURS,  2521 
Upham  St..  Madison,  Wise. 

•  "WAR"  News  Parade;  Spain  to  Hawaii;  16mm. 
sound,  4000'  staggering  war  scenes  now  booking. 
HARRIOTT  FILM,  Dunsmuir,  Calif.  

•  8MM.  STAN  LAUREL  comedies!  If  you  like 
old  time  slapstick  comedies,  join  our  8mm.  Ho- 
vie-A-Month  Club.  Membership  Free.  This  month 
its  a  two-reel  Stan  Laurel  comedy  titled  "Laur- 
el 8wins"  direct  from  35mm.  to  8mm.  This 
method  produces  the  highest  quality  possible. 
Two  reels — at  $4.00  per  reel,  or  $8.00  for  400  ft. 
Order  direct  if  your  dealer  cannot  supply.  No 
C.  O.  D's!  COPE  STUDIO,  3720  South  Figueroa, 
Los  Angeles. 

•  8MM.-16MM.  sound  and  silent  films,  projec- 
tors, and  cameras.  Bought  sold  and  exchanged. 
Trades  or  terms  accepted.  Free  bargain  bulletin. 
ZENITH.  308  West  44th,  New  York.  

•  8-16MM.  films  bought,  sold,  exchanged.  Sound 
odd  reels,  $1.50.  Catalog,  sample  film,  10c.  IN- 
TERNATIONAL. 2120  Strauss,  Brooklyn,  N.  Y. 

•  8-16MM.  FILMS — Free  catalog  'with  sample 
film,  10c).  PARKWAY  EXCHANGE,  961  Eastern 
Parkway,  Brooklyn,  N.  Y. 

•  NEW  Catalog — 8mm.  comedies  200  ft.  each, 
brand  new,  $4.50.  Liberal  exchanges  for  your 
old  subjects.  ABBE  FILMS,  1265  Broadway, 
N.  Y.  .C 

•  YOURS  for  the  asking!  Mammoth  40-page 
film  rental  catalog — silent,  sound,  8mm  and 
16mm.  Forward  your  name  and  address  today. 
NATIONAL  CINEMA  SERVICE,  69  Dey  St., 
N.  Y.  C. 


FILMS 


•  THE  QUALITY  of  your  movies  depends  mostly 
upon  the  processing  and  types  of  film  used.  If 
you  pay  less  for  your  film  you  are  getting  posi- 
tive film  which  was  not  manufactured  for  cam- 
era use.  We  have  worked  five  years  in  perfecting 
our  processing  and  we  have  killed  the  last  bug. 
100'  16inm.,  $2.50,  70'  8mm.,  $1.50,  including  pro- 
cessing, daylight  loading.  COPE  STUDIO,  3720 
So.  Figueroa.  Los  Angeles.  Calif. 

•  8MM.  FILM,  including  processing,  daylight 
loading,  non-halation.  25  ft.  8  8mm..  Weston  12. 
85c:  Weston  24-16.  $1.25:  Weston.  64-40.  $1.50. 
RITTER  FILM  SERVICE.  629  Lyman  Ave.,  Oak 
Park.  ni. 


TITLING 


•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18".  20".  24".  32"  and 
40"  focal  lengths.  Can  be  used  on  all  titlers 
which  provide  for  interchange  of  lenses.  Also 
ideal  for  general  close-up  photography.  Complete 
kit  $3.00.  Separate  lenses.  60c  each.  Also  avail- 
able in  6".  8"  and  12"  focal  lengths  for  ultra- 
closeup  work.  HOLLYWOOD  CINE  PRODUCTS 
CO..  3221  So.  Figueroa  St..  Los  Angeles.  Calif. 

•  NEW  COLOR  transparencies  and  motion  pic- 
tures of  Southwest  Indian  ceremonies  and  home 
life.  Lectures.  E.  P.  HUNT,  Stanford  University, 
Calif.  

•  THE  MOST  complete  16mm.  and  8mm.  title 
service  in  the  West!  Kodachrome,  black  and 
white,  newspaper  headings  in  film,  complete 
laboratory  service.  Send  for  samples.  NEW- 
LANDS  AND  SON,  6016  Barton  Ave.,  Hollywood. 

Calif.  

 PROCESSING  SERVICE  

•  MOTION  picture  processing.  100'  16mm..  75c; 
50'  16mm..  50c:  25'  8  8mm..  35c;  25'  8mm..  25c. 
RITTER  FILM  SERVICE.  629  Lyman  Ave..  Oak 
Park.  HI. 


a 


en  you  go  shootin' 
Your  film  on  the  run, 
Here's  how  you  all 
Can  double  your  Fun! 


Prepare  yourself  for  a  jolt  of  joy.  We  told  you  the  fun  was  on  the  fire.  Well,  here  it  is! 
An  amazing  opportunity  and  offer  which  is  open  only  to  you  registered  members  of  The  Reel 
Fellows. 

A  smash  deal  has  just  been  made  with  the  Home  Movies  Script  Service,  whereby  every 
Reel  Fellow  may  have  his  choice  in  a  wide  variety  of  professionally  written  scripts — in  each 
case,  an  elaborate  "shooting"  screen-play,  together  with  all  necessary  props  and  accessories 
— at  actual  printing  and  handling  cost,  plus  postage.  Here  is  what  constitutes  a  complete 
filming  outfit: 

(1)  A  thoroughly  professional  continuity  script,  written  similarly  to  those  used  in  ma- 
jor Hollywood  studios,  ranging  from  90  to  100  scenes  or  more,  telling  a  fascinating  story  in 
long  shots,  close-ups,  pans,  and  deft  touches — all  described  in  minute  detail. 

(2)  Specific  instructions  for  directing  the  filming  of  the  story,  either  with  an  8mm.  or 
1 6mm.  camera,  as  well  as  the  assembling,  cutting  and  editing,  titling  and  projecting  of  the 
finished  production. 

(3)  Approximately  10  spoken  title  cards  and  a  dozen  subtitle  cards,  all  printed  and 
ready  for  home  photographing. 

(4)  The  Main  title  and  special  Ending  title  in  actual  film  form,  all  ready  to  be  spliced  in. 

( 5 )  And,  finally,  even  the  required  special  props  called  for  by  the  continuity. 

Can  you  imagine  anything  like  it . .  .  anything  more  novel? . . .  where  you  can  be  the  di- 
rector, and  your  family  or  friends  the  players?  No  offer  has  ever  been  made  to  match  this 
amateur  movie-making  opportunity  for  fascinating  fun.  And  all  at  a  cost  that  is  unbeliev- 
ably low. 

Only  through  a  guarantee  that  each  of  you  will  want  several  of  these  complete  shooting 
scripts,  has  such  a  proposition  been  made  possible.  Write  TODAY.  Don't  delay  in  asking 
for  the  details  and  the  list  of  subjects  available.  This  offer  is  for  Reel  Fellow  members  only. 

If  you  are  not  a  Reel  Fellow,  send  in  your  application  so  you  can  be  registered.  You  still 
have  a  chance  to  become  a  member  of  this  friendly  fraternity  of  movie  amateurs,  whose 
highest  ambition  is  to  shoot  for  fun  and  help  the  other  fellow. 


Address  requests  to  secretary  .  .  .  . 


The  REEL  FELLOWS 


6060    Sunset  Boulevard 


Hollywood,  California. 


THERE'S  no  time  for  retakes 
today. f  You  want  to  know  that  your  movies  will  be  com- 
pletely right.  Every  scene  in  every  sequence.  You  want 
crispness  and  warmth  and  richness — and  sensitiveness  to 
every  delicate  shading.  Probably  you  want  color,  too. 
You'll  take  your  movies  as  carefully  as  you  can,  of  course. 
Yet,  if  you  err  a  little  now  and  then,  you  want  the  assurance 
that  your  film  will  lend  a  helping  hand. 

All  this  is  manifestly  true.  And  equally  true  is  the  con- 
tention of  seasoned  cinamateurs  that  these  vital  specifica- 
tions are  particularly  applicable  to  Cine-Kodak  Films.  To 
full-color  Kodachrome.  To  the  ever-dependable  Cine-Kodak 
Panchromatic  Film.  To  the  faster,  fine-grained  Cine-Kodak 
Super-X  "Pan."  To  the  ultra-fast  Cine-Kodak  Super-XX 
"Pan."  And  even  to  the  amazingly  low-cost  Cine-Kodak 
"Safety  Pan"  for  100-foot  16-mm..  cameras. 

Whether  your  camera  is  notable  for  economy,  or  for 
versatility,  use  ever-dependable  Cine-Kodak  Films  for  the 
good  and  satisfying  movies  any  good  camera  should  make. 


EASTMAN  KODAK  COMPANY 

OCHESTER,  N.  Y. 


Cini-Ko6ak  Super-X  "Pan" 

8-mm.  roll,  $2  40;  8-min.  maga- 
line,  $2.70.  50-foot  16-mm  roU, 
$3.45;  16-min.  magaziiio,  $3.75, 
100-foot  roll,  $6  40. 


Cini-Kodak  Super-XX  "Pan" 

For  16-mm.  cameras,  only.  50- 
foot  roll,  $4;  magazine,  $4.30; 
100-foot  roll,  $7.20. 


CDiC.ROOAII 

SUPER-XX 

\  SAFETy  FILM 


Safety 


Cni-Kodak  Safety  "Pan" 

In  100-foot  16-mm.  rolls,  only 
$4.80. 

All  Prices  Include 
Processing 


I 


'♦HAWAII** 


A  Cavalcade  Of  Our  Pacific 
Outpost  In  8  m  m  And  16mm 

Romantic  Hawaii  in  all  its  peace-time  glory  is  pictured  in  this  finely  p>roduced  prcture  replete 
with  scenes  of  Honolulu,  Waikiki.  surf  board  riders,  hula  dancers,  etc.    A  "must"  for  your 
pers»nal  film  library!   Specify  No.  474-C  when  ordering. 

400   Ft.    16mm  $10.00 

200   Ft.     8mm   3.75 

ALSO — "Highlights  of  Hawaii,"  No.  475-A,  condensed  version  of  "Hawaii,"  picturing  inter- 
esting scenes  from  Waikiki  to  Mt.  Pele  _  100  Ft.  16mm,  $2.00;  50  Ft.  8mm,  SI. 00 


for  your  Easter  Party  .  .  . 

Screen    an    Oswald    Rabbit  Cartoon! 

A  universal  favorite  among  movie  enthusiasts  everywhere.  Oswald  oSers 
fun  and  entertainment  in  a  wide  selection  of  8mm.  and  16mm.  subjects. 
Listed  are  but  a  few: 


SNIFFS   AND  SNIFFLES  

ADVENTURES  IN  DREAMLAND- 
G-MAN  OSWALD   

OSWALD   THE  HUNTER  

THE  RADIO  BUG    

THE    MAGIC  WAND   


-10- A 
_I2-A 

-IS-A 
_I7.A 
_I8-A 

Jl-A 


100-Foot  —  16mm 
50-Foot  —  8mm 


—  S3. 00 

—  1.50 


Above  films  for  sale  only — not  for  rent. 


Also  available  from  Dealers. 


HOLLYWOOD  FILM  ENTERPRISES,  inc 


6060  SUNSET  BOULEVARD 


HOLLYWOOD.  CALIF. 


<,DVISORy  EDITORS 

D,  A.  K.  BAUMSARDNER 

Peoria  Cinema  Club 

P  ER  BEZEK 

Chicago  Cinema  Club 

S  JAMES  BIALSON 

Amateur  Ktotlon  Picture  Club  of  St.  Louis 

E  ^dOSS  BROWN 

Dallas  Cinema  Club 

s^^LTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  P^. 

:^UDE  W.  A.  CADARETTE 

Los  Angeles  8mm  Club 

^  EMERSON  CLYMA 

Detroit  Society  ot  Cinematographers 

RiJSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

3RIL  DVORAK 

Suburban  Amateur  Movie  Club 

AFHUR  E.  GIBBS 

Portland  Cine  Club 

R.r  A.  HOOK 

Seattle  8mm  Club 

A -RED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

J.:.  NESTELL 

Cinemen  Club 

RCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

G  BERT  B.  PETERSON 

Metropolitan  Cine  Club 

R'vjE  RIEBETH 

Minneapolis  Cine  Club 

AFHEO.  ROTH 

Sherman  Clay  Movie  Club 

3  0.  ROUNTREE 

Bay  Empire  8mfn  Movie  Club 

J.»AUL  SNYDER 

Norfolk  Amateur  Movie  Club 

R!  D  L  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 
IMF.  SISSEL 

Austin  Movie  Club 

D  C.  ENION  SMITH 

Metro  Movie  Club  of  Chicago 


El  >d  as  Second-Class  Matter,  May  4.  1938,  at 
M<  'ostoffice  at  Los  Angeles,  Calif.,  under  the 

Act  of  March  3.  1879. 
Su  ription  rates:  U.  S.  $2.00  per  year.  Canada 
Foreign   Countries,    $3.00   per   year.  Single 
CO  s  25c.    Canadian  and  Foreign  single  copies 
35i  Copyright,  1940,  by  Ver  Halen  Publications. 
Advertising   rates  on  application. 


.     .  nome — 

MOYIES 


Reg.  U.  S.  Pat.  Off. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.  Price  25c  per  copy  in 
U.  S.  No  part  of  magazine  may  be  reprinted  without 
specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  APRIL,  1942 


THE  READER   SPEAKS    134 

TITLE    TROUBLES    136 

WITH  THE  REEL  FELLOWS    I38 

ONE  REEL  MOVIES   I40 

PHOTO  TITLE  BACKGROUND — By  E.  J.  Eiscnnicicr   142 

THIS  MOVIE  AMATEUR  BUILT  HIS  OWN  SOUND  CAMERA 

— By  Bill  A.  Jones  143 

WHAT  THE  BEGINNER  SHOULD  KNOW  ABOUT  EXPOSURE  METERS 

— By  Stanley  E.  Andrews  144 

HOW  TO  CENTER  TITLES   145 

ITS  EASY  TO  BUILD  THIS  ERROR-PROOF  TITLER 

— By  George  W.  Cnshman  146 

MASKING  METHODS  FOR  TRICK  DOUBLE  EXPOSURES 

— By  George  A.  Gauld  147 

MOVIE  OF  THE  MONTH — By  J.  H.  Schoeu   148 

REVIEWS  OF  THREE  3 -STAR  MOVIES  By  The  EdttOTS   1 49 

THE  EXPERIMENTAL  CINE  WORKSHOP     I$l 

ITS  NEW  TO  ME — By  Ctnebtig  Shopper   152 

IF  YOU  WANT  A  FILM  TO  SHOW   I  54 

FILM  EMULSION  RATING  CHART  :   I  56 

HOW  I  KEEP  MY  CAMERA  BUSY   I  68 

HOME  MOVIE  TITLES — By  Edmiind  Turner   171 

Cover — Joan  Carroll,  R.  K.  O. -Radio  starlet  of  "Obliging  Young  Lady" 
obligingly  poses  with  her  Easter  pets. 


•  Your  Pets  are  even  more  interesting 
on  the  screen.  Why  not  feature  them  in 
a  movie? 


CHAS.  J.  Ver  HALEN 

PUBLISHER 


C.  |.  Ver  HALEN,  )R. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilf  6-5254 


APRIL 


NUMBER  4 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
|.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S      MAGAZINE      FOR      THE      MOVIE  AMATEUR 


PACE  134 


HOME  MOVIES  FOR  APRIL 


m 
m 
m 
m 


m 

mi 
m 

t  ' 
F 


ATEUR 


'  MORE 


IVAen  you  Uie  -d 


mm 


CHALLENGER 

SCREEN 


Res.  U.  S.  Pat.  Off. 

•  Its  specially-processed  Da-Lite 
Glass-Beaded  Surface  makes  pic- 
tures  brighter  and   sharper  and 

„      brines  out  colors  faithfully  in  full 
n  brilliance. 

8  •  Slotted  square  tubing  in  the 
K  tripod  and  solid  square  tubing  in 
HI  the  extension  support  assure  per- 
il feet  alignment  and  greater  rig- 
idity. Da-Lite's  patented  slotted 
construction  with  inner-locking 
mechanism  makes  the  Challenger 
the  easiest  of  all  portables  to  set  up 
and  to  adjust  in  height. 

•  Because  of  the  economies  of 
large-scale  production,  the  Chal- 
lenger gives  you  unmatched  value. 
The  3o"x4o"  size  is  only  ^12.50 
(slightly  higher  on  Pacific  Coast) . 

I  There  is  no  Federal  excise  tax  on 
screens. 

Ask  your  dealer  for  the  time-proved  Da- 
Lite   Challenger.     'Write   for  literature. 

DA-LITE  SCREEN  CO.,  Inc. 

Dept.  4  HM,  2713  No.  Crawford  Ave.,  Chicago.  III. 


The  Reader 


Eights  Ont  of  Focns 

Here's  another  angle  on  that  "title- 
out-of-focus"  problem: 

Gentlemen:  In  your  January  issue, 
page  25,  you  give  the  answer  for  out- 
of-focus  projection.  True!  True!  For 
1 6mm.  perhaps.  But  with  8mm.  film 
there  is  still  another  very  important 
point  that  must  be  considered.  In  slit- 
ting double  8mm.  film  into  two  single 
8mm.  widths,  some  processing  labora- 
tories do  not  always  perform  this  slit- 
ting operation  accurately  with  the  re- 
sult that  occasional  bulges  are  created — 
i.  e.,  the  film  is  wider  in  some  places 
than  others — and  will  not  run  through 
the  projectors  with  accurately  machined 
film  gates  without  buckling  and  causing 
temporary  out-of -focus  projection. 

I  discovered  this  while  using  a  friend's 
projector  which  had  a  different  type  of 
film  gate  than  that  on  mine.  My  film, 
which  went  out  of  focus  on  my  ma- 
chine, projected  perfectly  with  his. 

—G.  T.  Merrill, 
Alameda,  Calif. 

He'll  Record  for  Yoa! 

In  the  January  "Reader  Speaks"  de- 
partment we  published  a  letter  from 
movieamateur  O.  W.  Amador  of  Texas, 
who  suggested  that  someone  set  up  in 
business  for  the  pitrfwse  of  supplying 
amateurs  with  recordings  of  commen- 
tary for  their  /jome  movies.  The  follow- 
ing is  the  first  letter  received  offering 
such  a  service: 

Dear  Sirs:  I  should  like  to  offer  my 
services  in  preparing  recorded  musical 
and  commentary  recordings  for  ama- 
teurs as  suggested  by  O.  W.  Amador  in 
the  January  issue  of  your  magazine.  I 
have  systematically  experimented  with 
all  phases  of  8mm.  movie  making  during 
the  past  eight  years  and  during  the  last 
three,  have  spent  considerable  time  ex- 
perimenting with  home  recordings  for 
amateur  films. 

Movie  amateurs  must  understand  that 
perfect  scene  synchronization  (as  well 
as  lip  synchronization)  is  usually  not 
possible  due  to  unsteady  speeds  of  mod- 
erate priced  recording  and  play  back 
turntables.  This  inaccuracy,  coupled 
with  the  undisputable  fact  that  most 
average  movie  projectors  do  not  run 
consistently  steady,  could — and  likely 
will — cause  the  recording  to  be  as  much 
as  two  or  three  seconds  out  of  time  with 
the  scene. 

The  simplest,  the  ideal  way  is  a  turn- 


,S  P  E  i  K  S 


table  which  the  amateur  can  use  to  fade 
the  required  music  in  or  out  at  the  prop- 
er time;  but  of  course  this  does  not  take 
care  for  the  need  for  commentary 
speech. 

Other  points  which  the  amateur 
should  consider  is  that  a  200-foot  reel 
of  8mm.  film,  for  example,  will  run 
about  16  minutes  on  the  screen,  while 
the  average  10- inch  record,  turning  at 
78  revolutions  per  minute,  runs  between 
3  and  3  Yz  minutes.  Kecordings  made — 
and  played —  at  33-1  3  R.P.M.'s,  of 
course,  will  solve  this  problem — provid- 
ing the  amateur  is  equipped  to  play  re- 
cordings at  this  speed. 

I  have  many  proven  facts  and  ideas 
involving  cables,  stroboscopes,  etc.,  that 
I'll  be  glad  to  discuss  with  any  inquir- 
ing movie  amateur.  Also  I'm  in  position 
to  make  sound  recordings  for  amateur 
films  as  suggested  by  reader  Amador.*  I 
am  a  script  writer  and  attached  to  the 
dramatic  staff  of  radio  station  KMBC  in 
Kansas  City  which  I  feel  qualifies  me 
to  do  an  acceptable  job  with  these  home 
movie  recordings. 

— Kenneth  Carlson, 

4220  !/2  Olive 
Kansas  City,  Mo. 

Saving  His  Tires! 

Here's  an  idea — not  new — but  appli- 
cable to  many  amateurs  whose  filming 
activities  might  otherwise  be  hampered 
by  the  rubber  situation: 

Dear  Editor:  For  some  time  we  had 
been  planning  on  spending  a  two  weeks' 
vacation  in  Florida  this  spring;  then 
along  came  war,  and  subsequently  tire 
rationing  which  makes  a  long  motor 
tour  now  out  of  the  question. 

However,  since  acquiring  movies  of 
Miami  was  one  of  the  main  reasons  for 
planning  our  trip,  the  idea  occurred  to 
me  that  we  could  still  enjoy  such  a  trip 
by  obtaining  movies  of  Miami  and 
points  along  the  way  and  enjoy  a  syn- 
thetic vacation  to  Florida  via  our  home 
movie  projector. 

The  first  thing  I  did  was  to  communi- 
cate with  the  Miami  Movie  Makers  Club 
and  ask  if  they  would  make  some  8mm. 
movies  for  me  of  important  spots  with- 
in their  city.  J.  Mendelson,  club  direc- 
tor, replied,  saying  if  I'd  send  along  the 
necessary'  film,  he'd  shoot  the  scenes 
gladly. 

While   he  was  shooting  for  me,  I 
thought  I'd  like  to  make  the  "vacation" 
picture  complete  by  including  scenes 
•  Continued  on  Page  170 


33  IfeanA. 


HOME  MOVIES  FOR  APRIL 


PACE  135 


CASnE  FILMS  SCOOP! 

HRSr8niin.-l6miii.M0nB 


Amazing,  authentic  record  of  our  surprise  blitz  on  the 
Marshall  Islands!  Filmed  under  fire!  Grim,  gripping 
action!  Our  ships,  our  planes,  our  straight-shooting  big 
guns  wage  lightning  war!  Jap  planes  shot  down!  Jap 
ships  sinking!  Jap  shore  bases  made  useless!  Here  is  the 
on-the-spot  record  for  now  and  posterity!  For  every  pro- 
jector owner  to  possess!  Costs  less  than  unexposed 
film!  Act  to  own  this  historic  picture  today! 
All  Castle  16  MM  films  are  processed  by  VAP-O-RATE.  All  Castle  8  MM  are  also  treated. 


DON'T  WAIT!  DON'T  DELAY! 
SEND  THIS  HANDY 
ORDER  FORM  TO  YOUR 
PHOTO  DEALER  HOW! 


RCA  BLDG. 
NEW  YORK 


FIELD  BLOG. 
CHICAGO 


RUSS  BLDG. 
SAN  FRANCISCO 


Send  Castle  Films'  "U.S.  Blasts  Marshall 
Islands,"  in  the  size  and  length  checked. 

Name 

8  mm. 

Headline  $i  /r 
50  Feet        !•/  0 

Complete  $(■  IZf\ 
180  Feet  O.OU 

Chy 

16  mm. 

Headline  $  A  7C 
100  Feet     X./  J 

Complete  $Q  "T C 
360  Feet  O./D 

fifnt^  HM.4 

Sound    $|'7  c/\ 

350  Feet  1^ 

PAGE  136 


HOME  MOVIES  FOR  APRIL 


MOVIE  FANS! 


If  you  eon't  answer 
these  questions  .  .  .  . 


Whal's  the  difference  in  quality 
between    KIN-O-LUX    and  any 
other  film  —  no  matter  what  f 
the  price  • 

What's    the    difference    in  cost 

between    KIN-O-LUX    and    any  _ 

other  film  of  comparable  (f 

quality  • 

What's    the    difference    in  real 
movie  enjoyment   between  _ 
KIN-O-LUX  and  any  other  film 
you  have  used  • 


You'' re  not  getting 
the  most  for  your 
JftOVtE  iWOiVEY! 


You  can  find  the  proper  answers — 
by  trying  KIN  O-LVX.  That's  the 
way  thousands  upon  thousands  of 
cine  enthusiasts  started  using  these 
versatile  films.  They  continue  to  do 
so — and  with  finer  results  measured 
in  speed  and  latitude  to  "get"  the 
picture  and  fine  grain  for  true 
projection  quality.  You  be  the 
judge.  Prove  to  your  own  satisfac- 
tion that  these  .  .  . 


4  KIN-O-LUX 
MOVIE  FILMS 

serve  every  purpose 


OUTDOOR 

Weston  8;  Schelner  18° 
$3.20-100  ft. 

OUTDOOR 

Weston  12;  Scheiner  20° 
$3.75-100  ft. 

INDOOR-OUTDOOR 

Weston  50;  Tung.  40 
Scheiner  26°;  Tung.  24 
$6.00-100  ft. 

#3        INDOOR  ONLY 

GOLD  SEAL       Weston  100;  Scheiner  29° 
(No  Outdoor  Ratings) 
$6.40-100  ft. 

FOR  A  CONTINUOUS  PERFORM- 
ANCE ALL  YEAR  'ROUND   .   .  . 

KIN-O-LUX,  INC. 


TITLE  TyilltLEN 


By  GEORGE  W.  CUSHMAN 


105  WEST  40th  ST. 


NEW  YORK  CITY 


If  you  have  any  questions  con- 
cerning titles  or  title-making,  Mr.  Cush- 
man  will  be  glad  to  help  you.  You  may 
address  him  in  care  of  this  magazine  or 
direct  to  his  residence,  504  Stanton 
Ave.,  Ames,  Iowa.  Don't  forget  to  men- 
tion the  kind  of  film  used,  light  source, 
exposure,  developer,  etc.  Send  along  a 
sample  if  possible,  and  don't  forget  to 
enclose  a  self-addressed  stamped  envel- 
ope for  your  reply. 

O.  /  photographed  a  paragraph  from 
a  newspaper  the  other  night  by  putting 
it  in  my  titter  and  filming  it  as  I  would 
an  ordinary  title.  However,  the  texture 
of  the  newspaper  is  too  highly  magni- 
fied when  the  shot  is  projected  on  the 
screen.  Is  there  anyiuay  I  can  re  film  the 
newspaper  and  eliminate  this  objectional 
feature?  I  used  a  good  exposure  meter 
and  my  exposure  seems  perfect. — M.  S., 
Lima,  Ohio. 

A.  Your  exposure  no  doubt  was  per- 
fect— too  perfect.  Your  meter  gave  you 
an  average  reading,  but  in  this  case  it 
would  have  been  better  to  disregard  the 
reading  and  over-expose  one  or  two 
stops,  thereby  obliterating  the  texture 
of  the  newspaper  without  materially  af- 
fecting exposure  on  the  lettering. 

If  you  are  using  regular  black  and 
white  reversal  film  for  this  shot  and 
your  newspaper  copy  is  not  printed  any 
too  well,  it  is  possible  that  if  you  over- 
expose, as  suggested  above,  the  black  let- 
tering will  show  grey  instead  of  deep 
black.  Should  this  occur,  shoot  the 
newspaper  shot  on  positive  film,  develop 
the  film  in  a  contrasty  formula,  then 
make  a  contrasty  print  for  projection. 

Q.  /  have  read  that  filters  have  suc- 
cessfully been  used  with  Kodachrotne  in 
filming  titles  composed  of  block  letters, 
in  order  to  lend  color  to  the  letters. 
However,  the  film  tnanufacttirer  does 
not  recommend  use  of  filters,  but  I 
should  like  to  try  this  stunt  if  you  think 
it  could  be  successful. — H.  A.  R.,  Neiv 
London,  Conn. 

A.  Use  of  a  filter,  when  filming  white 
title  letters  with  Kodachrome,  would 
cause  the  letters  in  the  title  to  appear 
similar  in  color  to  that  of  the  filter.  Us- 
ing filters  in  this  way  is  an  easy  method 
of  "painting"  and  "unpainting"  white 
block  title  letters  quickly.  It  is  superior 
to  using  tinted  base  films  since  it  pro- 
vides a  means  for  making  lap-dissolves 
from  one  color  to  another. 


A  color  filter  may  be  used  in  front  of 
the  lens  or  in  front  of  the  light  source — 
if  a  colored  glass  or  gelatine  can  aptly 
be  termed  a  filter  when  used  before  the 
light  source.  Nevertheless,  using  the 
color  before  the  light  provides  means  for 
obtaining  some  spectacular  effects  in 
Kodachrome  titles. 

In  titling  with  block  letters,  some 
amateurs  place  a  filtered  light  of  one 
color  on  one  side  of  the  title  and  another 
colored  light  on  the  opposite  side,  pro- 
ducing a  two-colored  shading  in  the  ti- 
tle letters. 

Another  idea  is  to  make  up  one  or 
more  "color  wheels" — large  discs  with 
holes  or  squares  covered  with  colored 
cellophane  or  gelatine  sheets — place  one 
of  these  in  front  of  each  titler  light 
source  and  slowly  rotate  so  the  colors 
change  slowly  as  they  play  on  the  title 
letters.  Remember,  however,  to  allow 
for  diminished  light  and  increase  your 
exposure  two  or  three  stops. 

But  getting  back  to  your  original 
question:  Yes,  filters  can  successfully  be 
used  with  Kodachrome  film  when  shoot- 
ing titles  composed  of  white  letters  on 
dark  backgrounds.  However  they  are 
not  recommended  when  filming  title 
compositions  in  color  or  in  regular  col- 
or photography. 

O.  /  have  seen  professional  shots  in 
which  the  camera  travels  in  one  contin- 
uous shot  from  a  closeup  of  a  letter  to  a 
medium  shot  of  some  object  in  a  room 
or  other  scene.  Do  the  professionals  have 
special  lenses  which  enable  them  to  shoot 
a  continuous  scene  from  closeup  to  long 
shot  all  in  sharp  focus,  or  do  they  use  a 
great  amount  of  illumination,  tlms  per- 
mitting stopping  down  the  lens  to  the 
maximum  to  gain  extreme  depth  of  fo- 
cus?— C.  f.,  Montclair,  N.  J. 

A.  Yes,  the  professionals  have  special 
"zoom"  lenses  which  are  manually  op- 
erated to  change  focus  as  the  camera 
gradually  swings  from  the  closeup  to 
the  long-shot  phase  of  the  filming. 
However,  if  you  have  a  focusing  lens 
on  your  camera,  you  can  achieve  similar 
results,  providing  it  will  focus  down  to 
two  feet.  Start  your  camera  with  the 
lens  focused  on  the  closeup  subject, 
then,  as  the  camera  is  panned  toward 
the  distant  object,  gradually  change  fo- 
cus of  the  lens  to  correspond  with  dis- 
tance of  object  from  camera. 

This  will  require  the  assistance  of  an- 
other person  to  manipulate  the  lens,  and 
•  Continued  on  Page  170 


P.vrsH^lal?' 8%  MOVIES 

^  PROCKET  CONTROL  is  a  vital  part  of  the  finest  i6  and 
•  ^  35  mm.  cameras,  generally  used  by  professional  cameramen, 

eluding  newsreel  photographers  who  must  get  sharp  pictures 
'  action  as  if  happens.  In  the  Revere  8mm.  Camera,  an  exclu- 
de reciprocating  sprocket  completely  absorbs  any  variance  of 
:  m  tension  caused  by  the  change  in  speed  of  the  film  as  it  winds 
(  to  the  take-up  spool.  (No  tugging  on  the 
Im  gate!)  The  Revere's  sprocket  also  keeps 
te  loop  below  the  film  gate  constantly  at 
te  proper  size  to  insure  free  movement  at 
i  times.  For  sharp,  steady  Smm  movies,  ask 
]  ur  dealer  for  the  Revere  Camera,  with 
irocket  film  control!  Write  for  literature! 
bvere  Camera  Company,   Dept.  4HM, 

o  E.  21st  Street,  Chicago,  Illinois. 


REVERE  MODEL  88 

Complete  with  F3.5  lens  S38.50 


SIMPLE  TO  LOAD 
AND  TO  OPERATE 

As  shown  by  the  above  illustration, 
you  drop  the  reel  of  new  film  on  to 
the  take-up  spindle,  place  the  film  in 
the  gate  so  that  it  follows  the  white 
line  for  the  loop  and  run  it  around 
the  sprocket  and  on  to  the  take-up 
reel.  Then  close  the  gate  and  door  and 
you're  ready  to  shoot. 

REVERE  "88"  CAMERA 

takes  movies  of  which  you  will  be 
truly  proud.  Here  are  a  few  of  its  many 
advanced  features:  Eastman-licensed 
spool  and  spindles,  precision-built 
mechanism,  5  speeds  with  positive 
speed  governor  control,  built-in  para- 
llax-corrected view-finder,  and  re- 
ciprocating sprocket  film  control. 
Complete  with  Wollensak  F  3.5  lens, 
$38.50. 


REVERE  "80"  PROJECTOR 

For  sharp,  brilliant  movies,  ease  of  thread- 
ing and  simplicity  of  operation,  the  Revere 
8mni.  Projector  is  today's  outstanding  val- 
ue. It  excels  in  features  essential  to  perfect 
projection,  smooth  performance  and  com- 
plete film  protection:  powerful  AC-DC 
motor,  double  blower  cooling  system  for 
lamp  and  film,  high-ratio  duplex  shuttle 
film  movement,  enclosed  precision  mechan- 
ism (no  belts),  fast  rewind,  radio  inter- 
ference eliminator.  Complete  with  500- 
watt  lamp.  F  1  6  lens  and  one  300-ft. 
reel,  $75.00. 

REVERE  "85"  PROJECTOR 

has  the  same  features  as  the  "80"  plus 
duo-shield  light  diffuser,  micro-tilt,  beam 
threading  light  and  carrying  case.  Complete 
with  500-watt  lamp.  F  1.6  lens  and  one 
300-foot  reel,  $89.50. 


REVERE  "99"  CAMERA 

To  the  mechanical  features  of  the  "88" 
have  been  added  in  this  model  a  turret 
head  for  three  lenses  and  an  extra  op- 
tical view  finder  for  use  with  telephoto 
lenses.  By  rotating  the  head,  you  can 
change  instantly  from  regular  Vi"  'ens 
to  1"  or  1 '/2"  telephoto  lenses.  Com- 
plete with  one  Wollensak  F  2.5  lens, 
$77.50. 


★  *  *★★★ ***★ ★*★★ ★★★★ ★★★★ ★★★* 


[evere 


ict  IfoutieL^! 


ant 


Buy  United  States  Defense  Savings 
Bonds  and  Stamps  Now! 


★*★★  ★★★★  ★★★★  ★★★★  ★**★  ★★*★  > 


PAGE  138 


HOME  MOVIES  FOR  APRIL 


444 


DISTINCTIVE 


OFFER  UNSURPASSED 

"  "Tkeatta  ^uallttf" 

PROJECTION  IN  EVERY  TYPE 
AND  STYLE  OF  SCREEN  FOR 
THE  FINEST  QU  ALI  TY 
REPRODUCTION  FOR  EVERY 
KIND  OF 


No  matter  what  your  needs  you'll  find 
a  RAVEN  SCREEN  serves  you  best.  For 
these  are  the  screens  selected  from 
among  all  others  by  some  of  the  nation's 
foremost  cinematographers  as  well  as 
movie  chains  and  Eastman  Kodak  for 
their  gorgeous  Cavalcade  of  Color  at  the 
World's  Fair. 

RAVEN  FABRICS 

Haftone  Witelite 


Crystal  Beaded 
Polaroid  Silver 


White  Opaque 
Silvertone 


RAVEN  MOUNTINGS 

DeLuxe  Automatic  Collapsible 

22  "  X  30  "  to  70"  X  70" 
Standard  Tripod 

30"  X  40"  to  52"  X  72" 
Gear  Operated  Tripod 


45' 


60" 


70' 


96" 


96' 


48" 


Duplex 

30"  X  30"  to  70' 
Table 

18"  X  24"  to  36' 
Metal  Case  Hanging 

22"  X  30"  to  12'  X  12' 
Spring  Roller  and  Back  Board 

70"  X  70"  to  12'  X  12' 
Wood  Roller  and  Batten 

48"  X  48"  to  12'  X  12' 
Thruvision 

18"  X  24"  to  45"  X  60" 


Witkthe  REEL  FELLOWS 


FRIENDLY  FRATERNITY 


fiiplj    OF  MOVIE  AMATEURS 


The  mailbox  is  brimming  over  this 
month  with  countless  interesting,  en- 
thusiastic letters  from  Reel  Fellows 
from  coast  to  coast.  So  we'll  give  space 
to  a  few  of  them  here  for  the  messages 
they  contain  for  other  members: 

To  the  Secretary: 

It  was  not  until  last  June  that  I  real- 
ly became  "hot"  over  amateur  movies. 
I  had  been  a  still  camera  fan  since  early 
in  1925  when  an  f/4.5  lens  was  consid- 
ered tops  and  the  vest  pocket  Kodak 
was  the  smallest  camera  made.  I  went 
through  the  usual  stages  of  evolution  in 
amateur  photography  and  am  now  in 
the  "four  camera  class" — possessing  a 
Contax  II,  Super  Ikonta  "B",  Series  D 
Graflex,  and  4  by  5  and  5  by  7  view 
cameras. 

Last  June  I  saw  my  first  copy  of 
Home  Movies  and  immediately  became 
interested  in  this  field  of  amateur  pho- 
tography. I  saw  movies  made  by  other 
amateurs  with  less  experience  than  I 
had  and  so,  on  the  spur  of  the  moment, 
I  bought  a  complete  outfit  from  camera 
to  projector. 

Since  that  momentous  day  I  have 
taken  2,000  feet  of  8mm.  movies,  750 
feet  of  which  are  in  Kodachrome.  I  have 
been  buying  Home  Movies  regularly 
from  our  local  photo  shop  and  have 
made  the  reading  of  your  magazine  a 
"must"  in  our  family.  You  see,  my  wife 
is  also  quite  adept  at  handling  our  mov- 
ie camera  and  she  has  gained  much  val- 
uable information  from  Home  Movies' 
pages. 

I  have  had  so  much  fun  making  mo- 
vies that  I  cannot  shoot  enough  film  in 
a  given  time  to  be  satisfied.  Now  that 
our  country  is  at  war,  I  am  trying  to 
record  as  many  scenes  around  my  neigh- 
borhood (without  running  afoul  of  for- 
bidden areas)  as  I  can,  so  that  the  life 
and  tempo  of  our  preparedness  phase 
will  be  recorded;  also,  the  many  spots 
familiar  to  us  which  may  change  when 
the  god  of  war  gets  his  work  in. 

So,  make  way  for  a  new  subscriber 
and  a  new  REEL  FELLOW!  Send  me 
my  pin,  camera  insignia,  and  all  the  rest 
— and  keep  sending  us  Home  Movies 
for  the  next  twelve  months. 

Very  truly  yours, 

— Anthony  P.  Formanek 
New  York  City,  N.  Y. 

Gentlemen: 

I  own  a  Revere  model  8  8  cine  camera. 
I'm  wondering  if  any  brother  Reel  Fel- 
low has  made  a  turret  for  this  model 
camera?  If  so  would  appreciate  hearing 
from  him. 


REEL  FELLOWS 

This  department  chronicles  the 
doings  of  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellows  informed  of  your  activi- 
ties through  this  column?  Write  the 
editors,  giving  details  of  your  filming 
activities,  future  filming  plans,  or 
interesting  experiences  encountered 
through  your  affiliation  with  this 
fast  growing  organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideration 
will  be  given  to  their  publication 
when  space  permits. 


I'm  also  interested  in  starting  a  local 
chapter  of  the  Reel  Fellows.  Interested 
movie  amateurs  are  invited  to  write  me. 

— G.  Douglas  True 
Boston,  Mass. 

Dear  Editor: 

Here's  a  call  to  all  Reel  Fellows! 

An  urgent  appeal  is  pouring  forth 
from  this  member  for  correspondence 
from  other  Reel  Fellows  on  the  subject 
of  our  mutual  hobby.  It  is  about  time 
that  we  climbed  off  our  shelf  and  got 
acquainted  with  some  of  the  best  all- 
around  reel  felloM's  this  publication  has 
made  possible. 

Some  one  has  to  make  the  first  move 
and  it  might  as  well  be  me.  My  husband, 
also  a  Reel  Fellow,  would  welcome  cor- 
respondence from  male  members  and  I 
would  like  correspondence  from  femi- 
nine Reel  Fellows.  So  far,  several  Reel 
Fellows  have  sent  us  bits  of  film  to  splice 
into  our  "Reel  Fellow  Reel"  we  started 
only  a  few  months  ago.  And  something 
tells  us  this  is  to  be  one  of  our  most 
prized  possessions. 

In  a  time  of  crisis,  such  as  our  beloved 
Country  is  now  experiencing,  many  of 
us  may  not  feel  like  corresponding  when 
hearts  are  seared  by  trouble  and  anxiety; 
but  to  keep  our  heads  high  and  our  hopes 
realized,  correspondence  from  brother 
movie  hobbyists  is  the  very  pijk-up  we 
need. 

My  husband  bet  me  S  10.00  worth  of 
film  that  I  won't  get  a  single  letter  in 
response  to  this  appeal.  I  have  taken  the 
bet. 

Looking  forward  to  your  letters,  I 
remain. 

Sincerely, 

— Marie  Zander, 
616  Stebbins  St., 
Toledo,  Ohio 


RAVEN  SCREEN 
CORPORATION 

,314  EAST  35  STREET 
NEW  YORK  CITY 


HOME  MOVIES  FOR  APRIL 


PAGE  139 


AMPRO  Projectors- 

lASY to  (h/i/i^  and  ^dllp 


PORTABLE 

Compactness  of  design  has  reduced  the 
weight  of  Ampro  projectors  to  a  minimum 
making  them  convenient  to  carry 


CONVENIENT 

Reel  arms  are  permanently  attached  so  they 
can  be  unfolded  and  swivelled  into  position 
for  instant  use 


SIMPLE  OPERATION 

Film  "threads"  straight  through  projector 
which   has  been   simplified    by  employing 
only  two  sprockets 


*  TRAINING  FOR  VICTORY 


The  U.  S.  Office  of  Education  is  sponsoring  a 
huge  sound  film  program  for  industrial  train- 
ing in  connection  with  National  Defense. 
Ampro  educational  dealers  are  fully  informed 
regarding  this  comprehensive  sound  film  pro- 
gram. Contact  your  nearest  Ampro  dealer  or 
write  us  for  free  catalog  describing  each  film. 


IN  analyzing  the  many  technical  advantages  of 
Ampro  projectors,  you  should  not  overlook 
their  basic  superiority  of  design  in  relation  to  ease 
of  setting  up.  Ampro  projectors  can  be  unpacked 
and  swung  into  action  in  a  surprisingly  short  time 
— with  minimum  fuss  and  delay. 

In  addition,  other  Ampro  features  include:  Triple 
claw  movement  •  natural  sound  reproduction  •  tube 
operation  approved  by  Radio  Mfr's.  Assn.  •  flex- 
ibly mounted  motor  •  direct  light  to  the  photocell 
•  Underwriters'  approval  for  1000  watt  lamps  • 
all  tubes  convenient  for  quick  replacement  •  non- 
overloading  of  amplifier  tubes  •  standard  lamps 
procurable  everywhere  at  no  extra  cost  •  all  elec- 
trical features  built  on  one  removable  chassis  for 
simplified  service  •  fast  automatic  rewind  ♦ 
tubes  carry  oil  to  all  points  from  centralized  oil 
cup  •  Oilite  Bearing  and  precision  ground  shafts 
employed  throughout  •  convenient  one  hand  tilt- 
ing device  •  special  threading  light  and  pilot  light. 

Send  for  Complete  Story 

Although  the  demands  of  the  U.  S.  War  program 
may  make  it  impossible  to  fill  your  requirements 
immediately— every  person  interested  in  better 
I6mm.  projection  should  get  full  details  of  the 
Ampro  story  right  now!  Write  today! 

AMPRO 

Precision  Cine  fqiiipment 


AMPRO  CORPORATION 

2851  NORTH  WESTERN  AVENUE       ""^«>  CHICAGO,  ILL 


PACE  140 


HOME  MOVIES  FOR  APRIL 


The  New 
DA-SCOPE 
KODACHROME 
VIEWER 


closed 


A  compact  folding  slide  viewer 
handsomely  made  of  durable  red  and 
white  plastic,  that  practically  makes 
Kodachrome  stills  "breathe."  The 
magnification  of  the  viewing  lens  is 
such  that  the  smallest  detail  is 
brought  into  sharp  and  clear  focus. 
The  lens  springs  into  position  when 
the  Da-Scope  is  opened.  The  trans- 
lucency  of  the  white  plastic  top  per- 
mits both  sufficient  illumination  and 
diffusion  for  viewing  the  slide.  The 
small  size  *2Vb  x  2Va  x  Vs")  and 
light  weight  of  the  Da-Scope  make 
it  truly  a  "vest-pocket"  instrument. 

$1.95 

Mail  Orders  Filled 


32nd  St.  near  6th  Ave.,  New  York 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 

Established  1898 


One  J^eel  Aiovle^ 


Family  Wai  Documeniaiy 

Why  not  a  one-reel  movie  showing 
the  family's  activities  during  this  second 
great  World  War?  Today  all  of  us  are 
involved  in  the  exacting  demands  of  war 
which  begin  now  to  be  felt  in  many  in- 
timate ways.  Unlike  those  outside  the 
movie  amateur  fraternity,  cine  enthus- 
iasts have  a  unique  opportunity  to  make 
a  permanent  record  of  the  many  ways 
in  which  the  war  program  affects  their 
lives.  Such  a  film  will  be  a  priceless  doc- 
ument of  the  war  era  for  years  to  come. 

Open  your  film  with  a  re-creation  of 
how  you  first  heard  the  news  of  the 
bombing  of  Pearl  harbor.  Perhaps  you 
might  be  entering  the  driveway  of  your 
home  after  a  Sunday  outing  on  that  day, 
when  a  neighbor  leans  over  the  fence 
and  asks  if  you  have  heard  the  "news." 
You  are  amazed  as  he  tells  the  tragic  an- 
nouncement he  heard  on  the  radio.  You 
rush  into  the  house  to  turn  on  your  ra- 
dio, or  reach  over  and  turn  on  the  car 
radio  to  hear  the  latest  bulletins. 

Then  perhaps  you  send  Junior  down 
to  the  drug  store  to  get  the  latest  news- 
paper in  order  to  read  a  fuller  account. 
Subsequent  shots  could  be  faked  by 
by  showing  a  paper  being  thrown  on  the 
porch  after  Congress  declared  war  next 
day.  If  you  have  saved  the  newspapers 
of  those  memorable  days,  or  can  buy 
them  now,  a  good  touch  would  be  to 
show  a  medium  shot  of  the  front  door 
and  a  paper  flying  into  the  scene  and 
hitting  the  door.  It  comes  in  flat  and 
the  camera  picks  up  the  ominous  head- 
lines in  close-up. 

With  the  copies  of  front  pages  or 
headlines  you  have  been  able  to  save  or 
buy  from  the  newspaper  office,  con- 
struct your  war  documentary'  if  possible 
in  continuity  as  the  various  events  real- 
ly hapoened.  On  the  other  hand,  it 
might  be  easier  and  almost  as  effective 
to  film  a  collection  of  sequences  showing 
various  war  activities  of  the  family, 
without  making  an  attempt  to  follow 
the  time  sequence  of  all  events  since 
opening  of  the  war.  More  telling  effect, 
for  instance,  can  be  made  of  the  tire  sit- 
uation after  it  really  begins  to  pinch  the 
family  car,  now  or  a  few  months  hence, 
instead  of  when  the  first  tire  "freezing" 
order  went  into  operation. 

The  past  few  months  have  been  load- 
ed with  headlines  of  events  and  govern- 
ment edicts,  all  of  which  are  valuable  as 
subtitles  in  your  war  picture.  After  the 
opening  sequence  of  the  family  on  De- 
cember 7,  the  headline  close-ups  would 
introduce  the  edict  relating  to  tires  and 
retreads.  Dad  could  be  shown  switching 
tires  from  wheel  to  wheel  as  a  conserva- 


•  //  you  have  an  idea  for  a  short  movie, 
something  easy  to  film — send  it  to  the 
editors  for  publication  in  this  department. 
Ideas  that  are  published  will  bring  the 
contributors  a  lOO  ft.  i6mm  or  50  //. 
imm  film  subject  selected  from  the  cata- 
logs of  our  adiertisers.  Address  contribu- 
tions to  ONE  REEL  MOVIES,  Home 
Movies  Magazine,  6060  Sunset, Hollywood. 


tion  measure,  or  he  could  be  jacking  up 
all  the  wheels  as  he  abandons  the  car  for 
the  duration,  finally  taking  to  riding  a 
bicycle  to  work. 

Final  draft  registration  day  might 
easily  have  caught  the  man  of  the  fam- 
ily. Some  type  of  sequence  in  ultra- 
close-ups  of  hands  or  feet  might  even 
now  be  accomplished  easily  to  give  the 
impression  of  Dad  signing  for  the  draft. 

If  there's  a  son  in  the  family  who  has 
been  called  to  the  army,  it  will  be  easy 
enough  on  his  next  leave  to  fake  a  few 
shots  relating  to  the  draft  call  or  enlist- 
ment. After  the  headline  about  the  draft 
registration  day,  cut  in  with  a  shot  of 
the  boy  in  civilian  clothes  bringing  his 
notice  home  or  receiving  a  piece  of  mail 
that  either  gives  his  draft  classificaton 
or  tells  him  to  report  for  his  physical  ex- 
amination. These  communications  from 
the  draft  board  have  undoubtedly  been 
saved  in  every  family  and  can  be  filmed 
in  close-up  to  add  a  further  record  to 
the  picture.  Later,  you  should  have  a 
picture  of  the  soldier  boy  in  his  uniform. 

After  the  headline  of  sugar  rationing, 
film  a  sequence  of  the  family  at  dinner, 
each  one  carefully  measuring  only  half 
a  teaspoon  of  sugar  for  each  cup  of  cof- 
fee or  dish  of  dessert.  Or  for  a  comedy 
touch  show  the  family  passing  around 
the  ration  of  sugar  tied  in  a  small  cloth 
bag  and  being  dunked  in  a  cup  of  cof- 
fee, then  passed  on  to  the  next  person  at 
the  table. 

The  collection  of  old  metal,  used 
toothpaste  tubes,  newspapers  and  maga- 
zines, etc.,  should  be  an  important  part 
of  the  reel  as  it  tells  of  a  phase  of  war 
activity  in  the  home.  Mother  can  be 
shown  as  she  picks  up  papers  and  puts 
them  neatly  in  the  garage.  Similarly,  ac- 
tivities of  mother  and  girls  in  the  vari- 
ous Girl  Scout,  Red  Cross  and  Ambu- 
lance Corps  work  should  certainly  be 
included  in  short  sequences.  The  sewing 
of  garments  at  the  Red  Cross  center,  the 
knitting  of  sweaters  or  socks  at  home 
are  bits  of  action  obviously  desirable  for 
a  reel  of  this  kind. 

Some  emphasis  should  be  made  on  de- 
picting the  rising  cost  of  living  as  a  rec- 
ord for  the  future.  Perhaps  vou  might 
•  Continued  on  Page  169 


HOME  MOVIES  FOR  APRIL 


PAGE  141 


Sign  This' 


HETHER  your  equipment 
is  8mm.  or  i6mm. — and  no  matter 
how  long  you  have  been  shooting 
movies — you  should  enroll  now  and 
join  that  grand  organization  which 
incites  a  friendly  and  fraternal  feel- 
ing between  all  amateur  cinema- 
tographers 

.  .  .  THE  REEL  FELLOWS 

All  sorts  of  advantages  immedi- 
ately become  available  to  aid  you  on 
your  glorious  trip  to  more  fun, 
friends,  knowledge,  economy,  pres- 
tige and  standing  in  the  ranks  of 
non-professional  movie  makers — 
when  you  join 

.  .  .  THE  REEL  FELLOWS 

First  you  sign  the  coupon  above 
and  send  it  in  to  headquarters  with 
one  dollar.  It  is  just  as  simple  as 
that.  You  then  receive  a  gold  pin, 
the  emblem  of  the  organization 
which  introduces  you  to  every  other 
member  on  sight.  Also  an  insignia 
for  your  camera  which  labels  your 
equipment.  Your  membership  card 
completes  the  credential  package 
you  receive  just  as  soon  as  your  ap- 
plication has  been  received  by 

.  .  .  THE  REEL  FELLOWS 

Upon  request,  the  club  will  then 
forward  to  you  a  list  of  other  mem- 
bers in  your  company  so  you  may 


THE  REEL  FELLOWS 
c/o  Home  Movies,  6060  Sunset  Blvd., 
Hollywood,  California. 

I  am  enclosing  one  dollar  ($1)  membership  fee,  for 
which  please  enroll  me  as  a  member  of  The  Reel  Fellows 
and  send  me  my  membership  card,  camera  insignia,  and 
gold  emblem  pin.  I  have  been  shooting  movies  (length 

of  time)    

My  equipment  is  8mm  i6mm    

Name  


Addr 


And  Become  .  ■  . 

A  REEL  FELLOW 

You  Owe  It  To  Yourself  To  Get  The  Most  Fun 
Out  Of  Making  Movies  By  Joining  Right  Nowl 


make  friendly  contact  with  all  those 
amateur  movie  cameramen  pledged 
to  cooperate  with  you.  According 
to  the  locality  in  which  you  live  you 
may  or  may  not  find  that  there  is 
already  a  charter  branch  of  the  or- 
ganization. If  not,  help  the  others 
start  one.  In  any  case,  boost  with 
your  fellow  members  for  your  own 
local  club  of 

.  .  .  THE  REEL  FELLOWS 

Give  a  helping  hand  wherever 
and  whenever  you  can.  You'll  find 
the  other  members  doing  just  that 
for  you.  That's  the  spirit  of  the 
finest  bunch  of  movie  amateurs  that 
ever  clicked  a  cine  camera.  You'll 
really  begin  to  appreciate  it  when 


you  join  the  question-and-answer 
correspondence  phase  of  the  club 
now  being  enjoyed  by  hundreds  of 
members  across  country.  Or  when 
you  go  on  your  vacation  and  discov- 
er that  wherever  you  go,  you'll  find 
.  .  .  THE  REEL  FELLOWS 

Yes,  if  you  own  a  camera  and 
have  the  slightest  spark  of  enthusi- 
asm in  your  blood,  you  owe  it  to 
yourself  to  join  today.  Then  watch 
that  spark  explode  and  free  those 
pent-up  emotions  of  yours  —  to  go 
places  and  do  things — shooting  for 
"The  Movie  of  the  Month"  and  the 
many  other  awards  available  to  all 
members  of 

.  .  .  THE  REEL  FELLOWS 


REEL  FELLOWS 

A   Friendly   Fraternity    of   Movie  Amateurs 


HOME  MOHES 


Published  in  Hollywood 
IPRIL  1942 


B 


'EFORE  the  days  of  priorities,  Roy 
Smith,  an  Akron,  Ohio,  auto  mechanic  and  avid 
cinebug,  built  himself  a  successful  i6mm. 
sound-on-film  camera.  Perhaps  it  would  be  more 
accurate  to  say  that  Smith  converted  his  old 
model  70  Filmo  camera  to  a  single-system  sound 
job  which,  he  states,  gives  commendable  results 
considering  the  fact  it  is  powered  by  an  ordi- 
nary, non-synchronous  electric  motor. 

All  that  remains  of  the  original  camera  is 
part  of  the  case,  a  right-angle  gear,  and  the 
shutter  mechanism.  The  original  spring  drive 


•  Pictured  here  among 
all  the  necessary  sound 
accessories,  is  Roy 
Smith's  single-system 
sound  camera. 


Fig.  1 


ulth  movie  amateur  built  Iti^ 


mechanism,  sprockets,  take-up  spindles  and 
gears  have  been  removed  and  replaced  with  an 
electric  motor  drive,  a  galvanometer  and  opti- 
cal recording  system.  200  foot  capacity  maga- 
zines have  been  mounted  on  top  of  the  camera 
in  professional  fashion.  All  these  alterations  and 
additions  may  be  seen  in  the  accompanying  il- 
lustrations. 

The  original  Filmo  single-lens  mount  has 
been  replaced  with  a  two-lens  turret  which  pro- 
vides space  for  additional  lenses  when  needed. 
A  critical  focuser  was  also  built  in  as  well  as 
a  masking  device  for  producing  split-stage  and 
other  trick  cinematic  effects. 

Smith  designed  his  own  200-foot  film  maga- 
zines and  had  them  cast  of  aluminum  (when 
defense  priorities  were  unknown).  He  also  con- 
structed a  400-foot  capacity  magazine  from 
sheet  metal. 

The  galvanometer  and  optical  system,  which 
are  essential  to  putting  the  sound  track  on  film, 
he  purchased  as  a  complete  unit  and  fitted  it  to 
his  camera.  In  his  early  experiments.  Smith  used 
an  old  spring  drive  phonograph  motor  to  turn 
the  camera  movement  at  the  required  24  frames 


E.  J.  EISENMEIER  made  the  beautiful 
floral  shot  on  opposite  page  which  af- 
fords a  splendid  title  background  for 
home  movies  of  spring  subjects. 

143 


B  I 


per  second.  And  believe  it  or  not,  this  unortho- 
dox set-up  turned  the  camera  at  fairly  consist- 
ent speed,  according  to  Smith. 

This  mechanical-minded  movie  amateur 
chose  to  build  a  single  system  recording  cam- 
era in  place  of  the  multiple-unit  double-sys- 

•  Continued  on  Page  157 


Fig.  3 


Fig. 


HOME  MOVIES  FOR  APRIL 


•  Here  is  fine  example  of  a 
carefully  exposed  shot.  Note 
full  detail  of  animals  and  other 
objects  in  the  shadows  in  the 
background.  Even  with  an  elec- 
tric exposure  meter,  allowance 
must  be  made  for  the  prepond- 
erance of  dark  area  in  a  scene 
like  this.  And  in  shooting  an 
action  shot  such  as  this,  it  re- 
quired quick  mental  calculation 
— something  that  comes  with 
experience  to  all  photographers. 


Ross  Madden 


What  tke  beginner  should  know 

about  EXPOSURE  METERS 


STANLEY 


ANDREWS 


•  Movies,  poorly  ex- 
posed, are  uninterest- 
ing. So  it  becomes  im- 
portant to  the  ama- 
teur early  to  perfect 
his  technique  of  ex- 
posure calculation 
whether  by  intuition 
or  through  aid  of  a 
meter. 


HE  logical  sequel  to  our  third  lesson 
for  the  beginning  movie  amateur — which  ap- 
peared in  the  March  issue  and  dwelt  on  the  sub- 
ject of  film  characteristics — is  the  subject  of 
exposure  meters  and  their  use  in  determining 
correct  exposure  under  all  light  conditions. 

The  methods  employed  by  photographers,  ex- 
perienced as  well  as  novice,  for  calculating  ex- 
posures are  varied  indeed.  For  the  most  part 
these  methods  may  be  numbered  as  four  dis- 
tinct "systems."  Many  photographers  and  cine- 
matographers  of  the  old  school  arrive  at  expos- 
ure from  a  knowledge  of  light  values  acquired 
through  years  of  experience.  Some  seldom  use 
a  meter,  depending  upon  their  intuition  and 
knowledge,  to  set  exposure  "right  on  the  nose" 
— and  they  usually  do. 

The  less  accomplished,  having  yet  to  buy  an 
exposure  meter,  consult'  the  built-in  exposure 
guide  on  their  cameras  and  achieve  fairly  uni- 
form results  under  average  light  conditions.  The 
third  method  is  that  of  employing  an  inexpen- 
sive "extinction"  type  meter — the  kind  you 
hold  to  the  eye  and  sight  on  the  object  or  scene 


and  calculate  exposure  according  to  the  darkest 
numbered  or  lettered  segment  of  the  meter's 
light  density  strip.  The  fourth  is  that  of  em- 
ploying use  of  an  electric  or  "photo-cell"  ex- 
posure meter. 

The  first  method  needs  no  further  discussion. 
Amateurs  who  would  follow  method  No.  2 
should  first  learn  to  appraise  light  conditions 
accurately  and  particularly  to  know  the  differ- 
ence between  a  "light"  and  "dark"  interior  in 
calculating  indoor  exposures  for  artificial  light. 
A  room  with  light  walls  and  light  woodwork 
could  not  be  considered  altogether  a  "light"  in- 
terior if  drapes  and  other  furnishings  were  pre- 
ponderantly dark.  Unless  there  is  considerable 
reflection  of  light  from  walls  of  a  room,  unob- 
structed by  dark  furnishings,  the  room  should 
be  classified  as  "dark"  and  the  exposure  indicat- 
ed by  the  built-in  exposure  guide  followed.  As 
a  rule,  one  seldom  sees  an  over-exposed  interior 
shot  in  the  average  run  of  amateur  movies,  with 
the  exception  of  some  close-ups,  and  it  would 
be  well  always  to  allow  for  slight  over-expos- 
ure in  calculating  interior  lens  settings  with  aid 
of  built-in  exposure  guides. 

As  for  meters,  many  movie  amateurs  have 
•  Continued  on  Page  15? 


144 


HOME  MOVIES  FOH  APRIL 


PACE  145 


HOW  to  center  titled 


T, 


HE  most  troublesome  obstacle  in  the  path 
of  many  amateurs  who  would  film  their  own  titles  is 
the  problem  of  accurately  centering  camera  on  the 
title  card.  Actually  there  are  several  very  simple  ways 
in  which  accurate  alignment  can  be  assured — six  of 


them  illustrated  and  described  here.  Choose  the  meth- 
od that  appeals  most  to  you,  set  up  your  camera  and 
shoot  a  short  test  strip.  When  you  see  how  easy  it 
really  is,  you'll  surely  get  busy  on  one  of  the  most 
fascinating  phases  of  movie  making — filming  titles. 


With  All  Types  of  Titlers —  centering  can 
be  accomplished  by  placing  a  piece  of  newspa- 
per on  the  title  board,  securing  camera  in 
place,  and  shooting  a  short  test  strip  of  film 
at  proper  exposure.  When  developed,  the  area 
filmed  may  permanently  be  marked  on  the 
newspaper,  the  printed  wording,  etc.,  serving 
as  a  guide  for  tracing  the  outline.  Where  titler 
does  not  provide  a  dependable  guide  for  se- 
curing camera  in  same  place  each  time,  the 
area  seen  through  viewfinder  should  also  be 
traced  on  the  newspaper  and  the  camera 
aligned  with  this  area  each  time  by  sighting 
through  viewfinder. 


GATE,  ;' 


'  \ 

I  \ 
I  I 

I  » 
/  4"  ^ 

=!•< — T/TLf  CARD 


Centering  By  Projection  is  easily  accom- 
plished where  camera  film  gate  may  be  opened 
45°  or  more.  Insert  a  small  mirror  behind  the 
film  aperture  (a  dental  mirror  is  excellent 
for  this  purpose).  Direct  beam  of  a  pocket 
flashlight  into  mirror.  Beam  of  light  reaching 
title  board  will  indicate  exact  title  area  and 
position  that  will  be  photographed  by  the 
camera.  With  home  made  title  boards,  outline 
this  area  with  pencil.  With  tvoewriter  titlers, 
adjust  camera  so  projected  beam  is  centered 
in  card  holder.  It  is  important,  too,  to  hold 
flashlight  exactly  at  right  angle  to  camera,  and 
as  close  to  mirror  as  possible. 


VIEWFINDER 


No  Titler  Is  Required  for  making  titles  if 
this  simple  plan  is  followed.  After  determin- 
ing exact  dimensions  of  horizontal  and  verti- 
cal offset  between  lens  and  viewfinder  of  your 
camera  (A  and  B  in  illustration),  mark  the 
relative  position  of  viewfinder  center  (C)  and 
lens  center  (D)  on  a  sheet  of  paper.  With  pen- 
cil and  ruler  draw  rectangles  the  size  of  title 
cards  to  be  used — one  each  for  viewfinder  and 
title  areas,  as  shown.  Set  up  camera  at  re- 
■^uired  distance  and  focus  viewfinder  on  view- 
finder  area.  Title  area  will  then  be  in  align- 
ment with  lens.  Next  afi&x  an  auxiliary  lens 
in  front  of  camera  lens  and  start  filming. 


Titles  Can  Be  Centered  with  mirrors,  and 
again  a  dental  mirror  is  a  handy  tool  for  this. 
With  camera  in  place  on  titler,  but  not  thread- 
ed, insert  a  short  piece  of  frosted  film  behind 
the  film  aperture.  (You  can  "frost"  it  your- 
self with  a  piece  of  fine  sandpaper).  Turn  on 
Photofloods,  open  lens  wide,  and  image  of 
title  as  seen  by  lens  will  be  reflected  onto  frost- 
ed film,  thence  to  mirror.  If  not  perfectly  cen- 
tered, title  or  camera  may  be  moved  until 
aligrunent  is  accomplished  and  camera  or  ti- 
tle position  permanently  marked  for  future 
use.  Thread  film  in  camera  and  shoot. 


A  Common  Yardstick  or  ruler  may  be  used 
to  center  camera  on  title  card  as  shown 
here.  First  measure  distance  from  top  of 
camera  to  line  representing  lens  axis  and  place 
mark  at  both  ends  of  camera  indicated  at  A 
and  B.  Place  yardstick  against  side  of  camera, 
as  shown,  and  it  will  point  to  horizontal  cen- 
ter line  of  title  board.  The  vertical  center  line 
may  then  be  determined  by  measuring  dis- 
tance between  center  of  caniera  lens  and  side 
of  yardstick,  as  shown  at  C,  and  this  dimension 
marked  on  title  card.  For  accuracy  it  is  import- 
ant to  use  a  sturdy  yardstick  free  of  warping. 


A  Wire  Frame  like  that  pictured  here  can 
be  used  for  centering  camera  on  ultra  close- 
ups  as  well  as  on  titles.  Actually  it  is  a  com- 
plete titler  which  any  amateur  easily  can  make, 
lacking  only  the  title  board.  The  wire  frame, 
supported  by  the  wooden  collar  which  slips 
over  lens  barrel,  extends  the  desired  distance, 
guiding  the  camera  to  correct  position  be- 
fore the  title  or  object  to  be  filmed.  The  nec- 
essary auxiliary  lens  is  cemented  in  place  on 
the  wooden  collar.  The  four  wire  supports  ex- 
tend from  holes  drilled  in  the  collar  and  are 
bent  to  form  the  alignment  frame. 


HOME  MOVIES  FOR  APRIL 


•  A  saw,  hammer  and 
screw  driver  is  all  you 
need  to  build  this  ti- 
tling device  which  as- 
sures accurate  center- 
ing and  uniform  ex- 
posure of  titles  at  all 
times.  Vertical  filming 
also  affords  use  of 
small  block  or  alpha- 
bet soup  letters  for 
title  composition;  also 
permits  making  ani- 
mated effects. 


St^  ea^^  to  ouild  tkU 

/  TITIER 


error-proo^ 


B  y 


GEORGE 


W 


C    U    S    H    M    A  N 


jVER  since  the  titler  pictured  here 
appeared  in  the  November  1941  issue,  repeated 
inquiries  have  come  in  from  amateurs  every- 
where requesting  details  of  its  construction. 
Adaptable  to  all  makes  and  models  of  cine  cam- 
eras, it  is  a  versatile  accessory  lending  itself 
equally  to  animation  as  to  titling. 

This  titler  affords  one  field  size  only — the  pop- 
ular 2"x3"  area  which  takes  typewritten  title 


cards  or  those  composed  of  alphabet  soup  let- 
ters. With  the  camera  shooting  down  on  the 
title  card  vertically,  opportunity  is  afforded 
to  make  trick  animated  titles.  Also,  the  glass 
panel  feature,  beneath  which  the  title  and  title 
backgrounds  are  placed,  hold  the  title  compo- 
sition absolutely  flat  and  accurately  in  place — 
centered  with  the  camera. 

Actually  this  titler  had  its  beginning  with 
a  regular  Cine  Kodak  titler  which  was  cut  in  two, 
as  shown  in  Fig.  i.  One  might  ask  why  cut  up 
a  good  typewriter  titler  in  order  to  make  an- 
other? This  is  answered  in  the  extra  features 
afforded  and  described  in  the  preceding  para- 
graph. Also,  this  set-up  provides  a  permanent 
arrangement  of  illumination  with  provision  for 
burning  the  lamps  at  low  voltage  between  shots 
— a  practice  which  adds  considerable  to  the  life 
of  photofloods. 

The  lights,  being  permanently  located  at  a 
set  distance  from  title  board,  eliminate  all  ex- 
posure guess  work.  For  after  initial  tests  have 
established  the  correct  exposure,  the  exposure 

•  Continued  on  Page  1 62 


TITLE  EASEL 


AUXILIARY 
LENS 


CAMERA 


WOODEN  PEGS 
PLATE  GLASS  ^  ^ 


HOLES  CUT  IN  BASE  BOARD 
C 


ON-OFF  SV^ITCH 


li:i!i;nilllililili,'(MI!il''  liTT 


WIRING   DIAGRAM  FOR 
SERIES-PARALLEL  SWITCH 

FIG. 4 


20"- 


FIG.  2 


WOODEN  PEGS  THRU  PLATE  GLASS 
FIG.  5 


-PARALLEL 
SWITCH 


CAMERA 
-LENS 


AUXILIARY 
LENS 


LIGHT 
SOCKETS 


currmc  catoe 

STAGS  A 


CtASS  SCffCCN 
STAGE  B 


ll 

1 

4 

1 

1 

If;'; 

■  ? 

OK 

r 

-Y 


_1  1  I  L_ 


1     I     i  r 


® 


M^a^klng,  methods  ^or  trick 


Is  I  pointed  out  in  the  preceding 
article  in  this  series,  ninety  percent  of  camera 
trick  shots  depend  upon  multiple  exposures — 
two  or  more  shots  made  on  the  same  length  of 
film,  combined  in  such  a  way  as  to  achieve  the 
required  effect.  In  the  majority  of  cases,  some 
form  of  masking  must  be  employed,  so  that 
only  a  certain  selected  portion  of  the  picture 
area  is  exposed  at  the  one  time.  An  effects  box 
in  the  form  of  a  mount  for  the  masks  and  a 
hood  between  the  mask  and  camera  lens  to  cut 
out  extraneous  light  is  required  when  using  the 
camera  for  this  type  of  trick  shot. 

The  "Frame,"  described  last  month  provides 
for  two  types  of  masks.  And  incide'ntally,  it 
would  be  well  to  refer  to  the  illustratoin  in 
that  issue  as  you  proceed  with  this  article.  The 
hood  and  mount  fitted  to  Stage  A  forms  an  ef- 
fects box  for  the  use  of  "high  diffusion  masks;" 
that  is  to  say,  masks  fixed  only  a  few  inches 
from  the  camera  lens,  giving  a  diffused  line  of 
demarcation  on  the  film  emulsion.  Such  masks 
are  used  when  it  is  necessary  to  conceal  the  fact 
that  they  have  been  used  at  all. 

An  example  of  this  is  to  be  found  in  films 
showing  an  actor  and  his  double,  both  parts 
being  played  by  the  same  man.  The  camera  is 
not  moved  during  the  two  exposures  and  along 
the  edge  of  the  masks,  the  two  exposures  merge 
one  into  the  other,  and  no  trace  of  a  "joint"  is 
visible  when  the  completed  picture  is  thrown 
on  the  screen. 

When  a  more  clear  cut  edge  is  required,  the 
mask  is  mounted  further  away  from  the  camera 
on  Stage  B.  Being  further  from  the  lens,  the 
degree  of  diffusion  is  considerably  less.  In  some 


double  EXPOSURES 


B  y 


GEORGE 


cases,  cardboard  cutouts  or  model  sets  used  on 
this  Stage  may  automatically  form  masks  in 
themselvse.  The  actors  may  appear,  for  ex- 
ample, framed  in  the  opening  of  an  archway 
cut  in  a  model  set  fixed  up  on  Stage  B.  The  shot 
is  first  taken  with  the  whole  Frame  covered  in 
a  black  cloth  and  the  model  set  in  complete 
darkness.  The  set  itself  is  photographed  in  a 
second  exposure.  Double  exposure  is  utilized  to 
overcome  the  difficulty  of  focusing  sharply 
both  the  model  set,  a  foot  or  two  in  front  of 
the  camera,  and  the  actor  who  may  be  fifty 
feet  away. 

The  "high  diffusion"  masks  are  comparative- 
ly small  in  size  and  must  be  cut  to  a  high  degree 
of  accuracy.  The  Frame  provides  an  easy  means 
of  doing  this.  A  panel  of  plate  glass,  cut  to  fit 
snugly  into  the  mount  on  Stage  B,  is  made  into 
a  guide  by  dividing  the  edges  into  an  equal 
number  of  parts  and  inscribing  lines  on  the  sur- 
face with  a  glass  cutter,  as  shown  in  Fig  z. 

A  mask  cutting  guide  is  also  required.  This 
is  made  from  a  piece  of  sheet  brass  cut  the  same 
dimensions  as  the  masks  to  be  used,  so  that  it  is 
a  good  fit  in  the  mount  on  Stage  A.  A  rectang- 
ular opening  is  formed  by  drilling  holes  and 
filing  to  shape.  In  size,  it  shoul4  be  equal  to  the 
field  of  view  and  at  the  same  time  be  located  in 

•  Continued  on  Page  i6$ 


G     A     U     L  D 


•  Sketches  above 
show  method  of  mak- 
ing masks  for  filming 
trick  shots  with  the 
effects  Frame  de- 
scribed by  George 
Gauld  in  the  March 
issue. 


147 


HOME  MOVIES  FOR  APRIL 


•  Left — Steve,  played  by  Roland  Ray,  surprises 
Buck  coming  to  rescue  Brandon.  Lower  photos, 
left  to  right — Rita  stops  fight  between  Steve  and 
Buck;  Steve  plots  with  Maria  and  Gomez  for 
capture  of  Brandon;  and  Gomez  turns  captured 
Brandon  over  to  Steve.  Illustrations  are  pro- 
duction stills. 


mm  4 


the  MONTH 


i. 


[N  argument  and  a  bet  were  respon- 
sible for  the  making  of  "Rita  of  Rocky  Ranch," 
the  Movie  of  the  Month.  The  argument,  accord- 
ing to  Roland  Ray  of  Los  Angeles,  who  produced 
the  film,  concerned  the  differences  and  merits 
of  1 6  mm.  and  8  mm.  cameras. 

"Those  on  my  side,"  Ray  stated,  "put  their 
necks  out  by  declaring  we  could  make  a  western 
type  movie  with  an  8  mm.  camera  that  would 
equal  the  quality  and  fidelity  of  i6  mm.  on  the 
screen.  Our  opponents,  in  the  friendly  argu- 


ment, were  insistent  that  8  mm.  could  not  pos- 
sibly have  the  scope  and  range  for  the  produc- 
tion of  an  outdoor  action  drama." 

The  production  that  followed  will  amaze 
those  fortunate  to  see  it,  for  actually  its  pho- 
tographic quality  surpasses  results  of  many 
1 6  mm.  cameras.  This  is  the  exception,  of 
course,  for  those  long  experienced  in  amateur 
movies  know  that  few  8  mm.  films  equal 
1 6  mm.  in  sharpness  of  detail  nor  depth  of 
focus.  Ray's  success  lies  equally  in  his  knowl- 
edge of  photography  as  in  the  quality  of  his 
camera  equipment,  for  much  of  the  shortcom- 
ings in  8  mm.  photography  is  due  to  the  cam- 
era's optical  system.  But  "Rita  of  Rocky  Ranch" 
definitely  proves  that  a  good  8  mm.  camera 
equipped  with  a  really  good  lens  will  record 
sharp  pictures  especially  in  the  hands  of  an  op- 
erator who  understands  how  to  shoot  to  obtain 
maximum  depth  of  focus. 

As  the  production  "stills"  on  this  page  indi- 
cate, "Rita  of  Rocky  Ranch"  is  a  typical  Holly- 
wood "horse  opera" — a  term  applied  to  movies 
laid  in  western  settings  and  employing  cow- 
boys and  horses  in  action  scenes.  Just  in  case 
the  photos  suggest  that  a  company  of  "profes- 
sional movie  people"  made  this  picture — and  you 
must  admit  they  look  like  the  real  thing — we'll 
disclose  that  the  cast  including  the  producer,  is 
strictly  amateur,  made  up  of  a  radio  writer,  a 
movie  extra,  a  real  estate  man,  a  housewife,  and 
Roland  Ray,  whose  amateur  camera  turned  out 
a  beautiful  job  of  photography. 

The  story  concerns  Rita  Larrabee,  a  young 
and  pretty  land-poor  ranch  owner  who  finds 
opportunity  to  show  her  property  to  an  eastern 
prospect,  named  Brandon.  Together  with  Buck, 
her  hired  man,  she  escorts  the  easterner 
around  the  ranch.  The  trio  ride  out  from  the 
corral  and  the  camera  follows  them  in 
some  of  the  finest  action  and  scenic  shots 
seen  by  this  reviewer  in  a  long  time  —  shots 
marked  by  excellent  composition  and  back- 

•  Continued  on  Page  i6i 


HOME  MOVIES  FOR  APRIL 


•  An  outstanding  shot 
is  this  fine  low  angle, 
well  exposed  composi- 
tion from  the  16mm. 
Kodachrome  movie, 
"Yellowstone  Park,"  a 
3-star  movie  reviewed 
here. 


of  three  3'Har  movies  . 


iN  this  department  every  month  ap- 
pear many  valuable  ideas  and  practical  criticism 
aimed  at  raising  the  level  of  amateur  movie 
productions.  To  each  film  submitted  for  review 
i-s  awarded  an  animated  leader  indicating  a  rat- 
ing for  the  picture  of  one,  two,  or  three  stars, 
according  to  judgment  of  the  editors  as  to  suc- 
cess of  the  production.  Along  with  this  award 
goes  critical  comment  on  a  special  review  form 
which  is  mailed  to  the  filmer  when  the  reel  is 
returned. 

Contained  in  the  reviews  of  amateur  produc- 
tions this  month  are  ideas  for  shooting  a  suc- 
cessful vacation  picture,  continuity  for  an 
amusing  way  to  utilize  the  unfortunate  results 
of  your  first  movie  shooting,  and  a  cinematic 
treatment  of  a  well-known  children's  folk  tale. 


"Yellowstone  Park" 
650  Ft.  16mm.  Koda. 


*★* 

By  E.L.F. 


Contimiity:  Picture  takes  the  spectator 
through  various  scenic  spots  in  Yellowstone 
Park  and  by  means  of  subtitles  presents  a  docu- 


mentary account  of  this  spectacular  national 
park. 

Photography:  A  standout  job  of  camera  work, 
the  photography  was  of  the  finest  order.  The 
filmer  framed  his  scenic  shots  excellently  and 
exposed  them  perfectly.  Some  of  his  camera  an- 
gles are  of  unusual  interest  as  evidenced  by  one 
shot  reproduced  at  top  of  this  page.  For  instance, 
when  filming  "Old  Faithful"  geyser,  he  first 
shot  the  crowd  standing  near  the  water  spout 
and  then  he  apparently  climbed  a  hill  in  order 
to  look  down  on  the  geyser  and  catch  it  fully 
without  panning.  His  closeups  of  friendly  chip- 
munks eating  from  the  hands  of  tourists  and  his 
collection  of  bear  pictures  were  extremely  in- 
teresting. General  criticism  was  that  he  failed 
to  include  persons  moving  about  in  scenes  to 
lend  human  interest  to  pictorial  shots. 

Editing:  This  filmer  made  the  common  error 
of  not  being  objective  enough  in  cutting  scenes 
to  proper  length.  It's  pretty  difficult  to  cut  out 
sections  of  a  well  photographed  scene,  but  un- 

•  Continued  on  Page  164 


•  Below,  from  left  to 
right,  are  frame  en- 
largements of  a  well 
executed  montage  shot 
from  "Home  Movies" 
and  of  the  main  title 
of  "Snow  White  and 
Rose  Red." 


149 


PACE  150 


HOME  MOVIES  FOR  APRIL 


•A  'hol  e 


THE  eXPERIMEITU 


Titler  Improvement 

The  simple  gadget  described  here  en- 
abled me  to  convert  my  Cine  Kodak  ti- 
tler to  a  vertical  titler  permitting  me  to 
photograph  a  series  of  personally  written 
signatures  which  I  wanted  for  a  family 
movie. 

The  titler  is  rigid  enough  to  stand  in 
vertical  position.  The  problem  was  to  set 
the  camera  upon  it  so  that  the  writing 
action  could  be  filmed  right  side  up. 
This  meant  making  a  bracket  that 
would  permit  attaching  camera  to  titler 
upside  down  or  just  the  reverse  as  when 
used  for  ordinary  title  making. 

This  bracket  was  formed  of  a  piece 
of  strap  iron  yi"y\"y.<)'\  bent  accord- 
ing to  dimensions  shown  in  sketch. 
Holes  were  drilled,  as  shown  to  permit 
attaching  bracket  to  titler  and  camera 
to  bracket.  Care  must  be  exercised  to 
make  sure  camera  lens  is  accurately  cen- 
tered with  titler  auxiliary  lens  when 
mounted  to  bracket — a  precaution  that 
must  be  taken  before  drilling  holes  in 
bracket. 

This  arrangement  also  makes  the  Cine 


IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  ti- 
tling, editing  or  processing  home 
movies,  pass  it  on  to  your  fellow 
cinebugs  through  these  columns,  if 
your  idea  is  published  you  will  re- 
ceive two  reels  for  your  efforts.  Ex- 
traor<finary  ideas  will  net  you  a  roll 
of  fHm. 

ideas  not  published  will  be  held 
for  future  publications  unless  they 
duplicate  ideas  previously  received. 
Endeavor  also  to  send  along  photos 
or  rough  sketches  illustrating  your 
suggestions.  There  is  no  limit  to 
number  of  suggestions  you  may  sub- 
mit. 

important:  When  submitting  ideas, 
be  sure  to  mention  whether  equip- 
ment you  use  is  8  mm.  or  16  mm., 
enabling  us  to  promptly  forward 
awards  adaptable  to  your  use. 


Kodak  titler  more  versatile,  enabling  the 
filming  of  animated  titles  and  other 
trick  effects. 

—W.  T.  Henwood, 
Boulder,  Colo. 

Stroboscopes 

For  those  who  depend  upon  strobo- 
scopes for  maintaining  synchronization 
between  recordings  and  projector,  here 
is  an  idea  for  providing  a  permanent 
strobo  for  each  recording. 

On  a  small  panel  of  clear  celluloid, 
draw  a  circle  to  correspond  with  size 
of  your  record  labels.  Draw  another  cir- 
cle inside  of  this  but  smaller.  Be- 
tween the  circles  mark  off  77  evenly 
spaced  lines,  using  pen  and  india  ink. 
Thus  is  provided  a  negative  from  which 
you  can  make  an  unlimited  number  of 
prints  of  the  stroboscope.  This  may  be 


STROBOSCOPE 
"RING  " 
APPL/£0  ON 
RECORD 
LABEL 


done  by  contact  printing,  and  if  you 
are  not  equipped  to  make  the  prints  and 
develop  them,  your  local  photo  finisher 
can  do  this  for  you. 

Make  as  many  prints  as  there  are  re- 
cordings used  in  accompanying  pro- 
jection of  a  picture.  Then  cut  out  the 
centers  and  trim  the  outside  edge  so 
that  stroboscopes  are  now  in  the  form 
of  rings.  Center  the  rings  over  the  rec- 
ord labels  and  paste  them  down.  Thus 
you  will  have  a  permanent  stroboscope 
on  each  recording  and  one  which  does 
not  cover  up  the  record  label. 

— Kirk  Lund  wall, 
Salt  Lake  City,  Utah 

Protection 

As  most,  if  not  all,  processing  labora- 
tories project  unidentified  rolls  of  film 
with  the  hope  of  finding  some  clue  to 
the  identity  of  owner,  this  suggestion 
will  insure  against  your  film  going 
astray  should  you  omit  your  name  and 
address  on  the  carton. 

After  threading  camera,  and  before 
making  the  first  shot,  expose  a  few 
frames  at  the  very  beginning  on  a  suit- 
able card  bearing  your  name  and  ad- 


dress. In  order  to  save  film,  make  this 
exposure  on  the  leader  section. 

Even  though  name  and  address  of 
sender  appears  on  the  carton,  cartons 
often  arrive  at  laboratory  with  name 
and  address  obliterated  or  blurred  where 
carton  is  exposed  to  rain  or  snow  during 
its  progress  from  mailbox  to  processing 
station. 

— John  L.  Cole, 
California,  Penna. 

Editing  Aid 

A  novel  editing  device  for  holding 
film  strips  ready  for  editing  and  splicing 
can  readily  be  made  from  a  strip  of  lum- 
ber and  a  piece  of  sponge  rubber  (if 
you  can  still  get  it!) 
A  piece  of  pine,  i"xi"xi8"  is  supported 
by  a  suitable  base  which  will  enable  it 
to  stand  erect.  To  this  is  cemented  a 
strip  of  sponge  rubber  approximately 
i"xi"  in  size.  Incidentally  this  may  be 
cut  from  a  sponge  rubber  pad  such  as 
currently  sold  ax  the  housewares  coun- 
ter of  principal  dime  stores. 

After  cemented  rubber  strip  is  thor- 
oughly dry,  make  deep  cuts  into  the 
rubber,  using  a  razor  blade  or  sharp 
knife,  and  space  the  cuts  about  i"  apart. 
These  provide  the  means  for  holding 
ends  of  film  strips. 

Numbers  or  letters  of  the  alphabet 
may  be  placed  on  the  wooden  support 
opposite  each  cut  as  an  identifying  sym- 
bol for  the  film  strips. 

— /.  G.  Cumberland, 
Des  Plaines,  111. 


TIN  CAN  CUT 
IN  HALF 


PROJECTOR 
LAMP  HOUSE 


EXHAUST  AIR 
LEAVES  HERE 


Light  Deflector 

Owners  of  Kodascopes  and  other 
makes  of  projectors  can  eliminate  the 
glare  of  light  issuing  from  top  of  lamp 
house  by  rigging  up  a  simple  deflector 
like  that  pictured  here. 

Take  an  empty  can  of  suitable  size 
and  cut  it  in  half.  Solder  one-half  of  the 


HOME  MOVIES  FOR  APRIL 


PACE  151 


CUE  WORKSHOP 


lid  to  the  open  end.  By  bending  flaps, 
provided  for  in  cutting  the  can  (as 
shown  at  A  in  sketch),  deflector  will  fit 
snugly  in  place  over  top  of  lamp  house. 

— L.  G.  Thompson, 
Medford,  Mass. 


HtN6£ 


FRONT  VIEW 


BICYCLE  BELL 
HANDLE 

BICYCL  E  SPOKE 


"DIME  STORE' 
HINGE 


SIDE  VIEW 


Laboi  Saving 


To  facilitate  the  use  of  a  fading  glass 
or  other  device  while  shooting  a  scene, 
ability  to  control  both  camera  and  cam- 
era starting  button  with  one  hand  is 
essential. 

Pictured  here  is  a  gadget  I  made  for 
my  Keystone  "8"  which  enables  me  to 
control  starting  and  stopping  of  cam- 
era with  same  hand  that  controls  pan 
and  tilting  action.  I  call  it  a  remote  con- 
trol. 

A  small  hinge  is  bolted  at  one  end  to 
the  pan  head.  At  the  other  end  a  small 
bolt  is  secured  in  place  by  two  nuts  and 
lock  washers  and  the  hinge  bent  so  that 
bolt  contacts  the  starting  button  of 
camera. 

Extending  from  this  hinge  to  a  small 
lever  attached  to  handle  of  pan  head  is 
a  bicycle  spoke.  The  lever  is  that  of  an 
old  bicycle  bell.  Pressure  of  thumb  on 
lever  starts  the  camera  and  when  re- 
leased, camera  button  returns  to  normal 
"stop"  position.  No  additional  springs 
are  necessary. 

— Frank  O.  Doak, 
Sacramento,  Calif. 

Rewind  Brakes 

A  feature,  not  yet  generally  built  in- 
to all  film  rewinders  now  on  the  market, 
is  a  braking  device  for  applying  tension 
to  one  rewind  during  rewinding  opera- 
tions, thus  leaving  free  one  hand  usu- 
ally occupied  in  keeping  film  taut. 

A  braking  device,  which  can  be  ap- 


plied to  nearly  every  make  of  rewind 
now  marketed,  may  be  made  from  a 
small  piece  of  leather,  a  rubber  band, 
and  a  small  screw  eye.  The  leather  pieces, 
about  y/'x}"  in  size  may  be  cut  from 
an  old  leather  glove  or  piece  of  heavy 
chamois.  With  pen  knife  or  punch, 
make  a  small  button  hole  at  either  end 
of  the  leather  strips.  Fold  leather  strip 
over  shank  of  rewind  spindle  and  loop 
a  stount  rubber  band  through  holes  in 
the  two  ends.  Attach  other  end  of  band 
to  screw-eye  affixed  at  base  of  rewind. 
This  supplies  tension  to  leather  strip 
thus  providing  braking  power  to  rewind. 

— P.  /.  Gillespie, 
Butte,  Mont. 

Film  Spooling  Aid 

An  aid  to  spooling  positive  film  under 
a  safe-light  is  to  paint  edge  of  slot  in 
core  of  spool  with  white  paint,  also  to 
paint  a  white  line  on  side  of  spool  op- 
posite slot.  The  white  lines  are  easy  to 
see  in  glow  of  safelight,  enable  guiding 
end  of  film  quickly  into  slot  of  spool. 

— Roland  Krause, 
Minneapolis,  Minn. 


IMPROVISED  EDITING  RACK 


CUP  CAKE  TIN 


A  Woman's  Idea 

Sometime  ago.  Home  Movies  fea- 
tured a  gadget  for  holding  separate  film 
scenes  ready  for  splicing.  It  was  a  board 
with  20  or  more  recesses  drilled  to  a 
generous  size  to  hold  the  film  sections 
It  was  a  grand  idea  for  male  cinebugs 
handy  with  saw  and  hammer,  but  a  dif- 
ficult job  for  most  feminine  amateurs. 

I  solved  my  problem  by  purchasing, 
at  a  dime  store,  a  large  cup  cake  tin 
with  20  deep  recesses.  It  cost  me  but 
20c.  The  tin  is  smooth,  free  of  any 
rough  edges,  and  each  recess  will  hold  a 
liberal  strip  of  film. 

Above  each  recess  I  stuck  small 
pieces  of  Vz"  adhesive  tape,  numbering 
them  from  i  to  20  as  a  means  of  identi- 
fying my  scenes. 

— Marie  Zander, 
Toledo,  Ohio 


g,adg.et^y  tricks  ^ 
shortcut ^  contri- 
butedby.  Cinebug.^ 


Film  Rewinds 

Cinebugs  who  are  also  good  base- 
ment-workshop mechanics  can  make 
their  own  rewinds  with  a  few  hours 
work  and  from  materials  still  available 
in  spite  of  priorities.  Best  source  of  ma- 
terials, incidentally  is  an  automobile 
wrecking  yard.  Required  is  a  piece  of 
sheet  metal  from  which  two  rewind 
supports  may  be  cut,  and  a  short  length 
of  round  iron  rod  '74"  in  diameter,  plus 
a  few  metal  washers  and  other  small 
items  usually  available  around  the  house. 

From  the  sheet  metal,  cut  two  pieces 
as  shown  in  Fig.  i.  Drill  necessary  holes 
and  bend  to  shape  is  indicated  by  dotted 
lines  so  that  finished  job  will  appear  as 
shown  in  Figs.  2  and  3.  One  unit  is  to  be 
a  complete  rewind  with  crank;  the  oth- 
er, merely  a  stationary  supply  reel  post. 
For  the  former,  form  the  crank  and 
shaft  from  the  length  of  quarter  round 
iron  rod,  insert  in  place  and  secure  it 
with  two  small  collars  and  set  screws 
or  washers  soldered  to  the  shaft.  A 
wooden  knob  fitted  to  crank  end  of 
shaft  completes  the  rewind  unit. 

The  stationary  unit  needs  only  the 
addition  of  the  spindle  which  is  secured 
in  place  with  solder.  Rubber  grommets 
may  be  used  as  retainers  for  keeping 
reels  on  spindles. 

— David  H.  Thomas, 
Martins  Ferry,  Ohio 


KEY  SOLDERED  ON  SHAFT 


FIG.  I 


FIG.  3 


PAGE  152 


HOME  MOVIES  FOR  APRIL 


3t'i  i  E  W  tome...! 

By  CiNEBUG  Shopper 


New  Mittens  Letters 

A  new  and  improved  professional 
movie  title  letter  set,  designed  especial- 
ly for  amateur  use,  has  been  placed  on 
the  market  by  Mittens  Letter  Com- 
pany. Outfit  contains  246  three  di- 
mensional letters,  capitals  and  lower 
case,  three-fourths  of  an  inch  in  height. 
Priced  to  sell  at  $7.50,  the  Set  is  avail- 
able either  with  pin  or  sanded  back  let- 
ters for  use  with  or  without  the  ad- 
hesive which  is  supplied.  As  may  be 
noted  in  the  accompanying  illustra- 
tion, the  letters  have  a  distinctive 
character  which  causes  them  to  stand 
out  exceptionally  well  no  matter  on 
what  type  of  backing  they  are  mounted. 

The  new  sets  are  available  from  prin- 
ciple photo  dealers  or  direct  from  Mit- 
tens Letter  Co.,  Redlands,  Calif. 


Reel  Cases 

Two  new  reel  cases  are  introduced 
this  month  by  American  Bolex  Co.,  for 
carrying  or  storing  8  or  16  mm.  films. 


Similar  in  styling  to  smart  aeroplane 
luggage,  these  practical  cases  are  fitted 
with  fine  grade  hardware  and  stream- 
lined inside  and  out. 

Two  models  are  available:  the  8  mm. 
case  which  holds,  in  a  special  rack, 
twelve  200-foot  reels  in  humidor  cans; 
and  the  16  mm.  case  which  accommo- 
dates eight  400-foot  reels  and  humidors. 
Manufacturer  states  these  carrying  cases 
will  guard  films  against  dust,  dirt,  and 
moisture  and  offers  a  money-back  guar- 
antee. 

Price  of  either  size  is  $6.95  available 
from  dealers  or  direct  from  American 
Bolex  Co.,  155  E.  44th  St.,  N.  Y.  City. 

Bullet  Spot 

A  new  chromium  bullet-shaped  spot- 
light has  just  been  offered  by  Fotoshop 
which  features  a  special  focusing  con- 
trol and  a  swivel-ball  mounting  which 
permits  adjusting  the  light  at  any  angle. 
A  sharp  condensing  lens  produces  a 
concentrated  spot  for  special  cinematic 
effects  such  as  highlighting,  backlight- 
ing, etc. 

The  bullet  spot  is  priced  at  $5.95 
complete  with  generous  extension  cord 


and  durable  switch.  Regular  photo  light 
source. 

Further  information  may  be  had  di- 
rect from  Fotoshop,  Inc.,  18  east  42nd 
St.,  New  York  City. 

B  &  H's  ''Moviequiz'' 

From  the  Bell  &  Howell  Filmosound 
library  comes  word  that  Moviequiz,  the 
new  test-your-knowledge  film  game,  is 
steadily  gaining  in  popularity.  Movie- 
quiz  is  played  thus,  says  Bell  &  Howell: 
the  participant  —  student  at  school  or 
guest  at  a  party — is  given  a  printed 
sheet  of  questions,  and  is  asked  to  indi- 
cate the  answers  in  the  sapces  provided. 
A  Filmosound  library  film  is  then  shown, 


in  which  the  correct  answers  are  found, 
and  from  then  on,  the  grading  of  papers, 
rewriting  of  answers,  or  paying  of  "for- 
feits," is  up  to  the  teacher  or  host,  as 
the  case  may  be.  Bell  &  Howell  has  sre- 
lected  several  series  of  new  one-reel  films 
as  Moviequiz  subjects,  and  for  each  film 
has  provided  a  "Moviequiz  Kit"  con- 
taining a  set  of  question  sheets,  a  mas- 
ter list  of  correct  answers,  and  suggest- 
ed methods  of  scoring.  Films  cover  such 
diverse  subjects  as  sports,  geography, 
news  of  the  day,  handicrafts,  and  nature 
study. 

An  attractive,  descriptive  folder  may 
be  obtained  simply  by  writing  the  Bell 
&  Howell  Company,  1801  Larchmont 
Avenue,  Chicago. 


Portable  Radiant  Screen 

A  new  radiant  glass-beaded  projec- 
tion screen,  designed  specifically  for  use 
in  schools,  universities,  auditoriums, 
churches,  meeting  halls,  army  camps, 
training  centers,  etc.,  has  been  devel- 
oped and  will  be  ready  for  delivery 
April  I  St. 

To  fill  present  day  requirements  in 
the  vast  program  of  visual  education 
military  and  industrial  training,  Ra- 
diant has  developed  this  new  unit  which 
embodies  minimum  weight  with  maxi- 
mum strength  and  rigidity. 

The  "auto-lock"  a  new  Radiant  devel- 
opment eliminates  all  set  screws  and 
other  locking  devices.  An  automatic 
clutch  permits  raising  and  lowering 
quickly  and  easily  to  any  height  on  the 
tripod,  which  is  constructed  of  extra 
strong  square  tubing  on  both  upright 
and  extension  support. 

This  new  Radiant  product  will  be 
known  as  the  "Institutional  Model  DS" 
and  is  made  in  4  sizes:  52-in.  x  52-in., 
45-in.  x  60  in.,  6oin.  X  6o-in.  and  52-in. 
X  72in. 

Further  information  and  prices  may 
be  had  by  writing  Radiant  Mfg.  Co., 
1 140  W.  Superior  St.,  Chicago,  111. 


HOME  MOVIES  FOR  APRIL 


PACE  153 


Movie  of  the  Month 

Hollywoodland  Studios  announce  ar- 
rangements have  been  made  with  Leo 
Caloia,  producer  of  "Latitude  26"  — 
January  Movie  of  the  Month — to  make 
and  distribute  8  mm.  and  16  mm.  prints 
of  this  exceptional  amateur  production. 

Those  who  have  been  privileged  to 
see  Caloia's  picture  will  appreciate  the 
opportunity  to  acquire  a  print  of  same 
for  their  library.  Many  cine  clubs  have 
already  reserved  a  print. 

Two-hundred  foot  8  mm.  prints  are 
available  at  S5.00  and  400  foot  16  mm. 
prints  at  S9.75.  Orders  should  be  sent 
direct  to  Hollywoodland  Studios,  South- 
gate,  Calif. 

Hand  Book 

Jackson  J.  Rose  A.  S.  C,  announces 
that  the  latest  revised  edition  of  his 
American  Cinematographer  Hand  Book 
is  now  ready  for  distribution. 

Containing  such  pertinent  cinematic 
data  as  Filter  Factors,  Lens  dimensions, 
depth  of  focus  charts,  exposure  figures 
and  scores  of  other  charts  for  the  pro- 
fessional and  amateur  cinematographer 
alike,  it  is  probably  the  most  valuable 
handbook  available  on  motion  picture 
camera  technique  today.  It  has  long  been 
a  popular  handbook  for  leading  Holly- 
wood cinematographers. 

Listing  for  $3.50,  postpaid,  it  is  avail- 
able directly  from  the  author-publisher, 
Jackson  J.  Rose,  1165  N.  Berendo  St., 
Hollywood,  Calif. 


Reel  Files 

All  metal  has  been  eliminated  in 
Western  Movie  Supply  Company's  new 
series  of  8  mm.  "Victory"  Reel  Files. 
They  are  said  to  give  films  permanent 
protection  while  affording  convenient 
means  for  recording  and  storing. 

De  Luxe  Library  series  of  three  vol- 
umes, available  in  Hack  or  brown  fab- 
ricord    holds    eighteen    200-ft.    8  mm. 

•  Continued  on  Page  ijo 


GRAFLEX 
GETS  IT 


THERE'S  a  pleasant  sense  of  reserve 
power  about  a  Graflex.  Maybe  you 
don't  need  a  shutter  speed  of  1/1000  often, 
but  when  the  need  does  come  you  can  meet 
it,  with  a  Graflex.  And  capitalize  on  it. 

Speed  is  only  one  of  the  Graflex's  capa- 
bilities. It  gives  Tou  right-side-up  ground- 
glass  focusing  that  eliminates  guesswork 


either  for  distance  or  for  composition. 
With  the  2V4  X  31^  Series  B,  illustrated 
here,  you  have  a  revolving  back,  the  fa- 
mous 5V2"  Kodak  Anastigmat  //4.5  lens, 
25  focal  plane  shutter  speeds,  and  adapta- 
bility to  plates,  film  packs,  or  sheet  film. 

Investigate  the  Graflex.  Your  Kodak 
dealer  will  be  glad  to  show  it. 


Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corporation. 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


Wollensak  lenses  today  are  finest 
Have  ever  produced.  -^^^V  li  ^n 

of  steady  ^^^^^^f^ ^  are 

for  your  new  WoUensak  len  .^^ 
hut  when  you  do  get  it  you  ^iH  Imd 
but  vsnei  )  Wol'-ensak. 
it's  worth  waiting  for  a  woi. 


ROCHESTER,  U.  S.  A. 


PAGE  154 


HOME  MOVIES  FOR  APRIL 


3Um 

mmm 

Where  to  buy  and 
rent  home  movie  films 

More  amateurs  are  deriving  greater 
pleasure  from  their  home  projectors  by 
regularly  screening  some  of  the  fine  Smm. 
and  16min.  reductions  of  professionally 
produced  motion  pictures.  The  swing  to- 
ward "whole  evening  show"  home  movie 
programs  Is  gaining  tremendous  momen- 
tum with  the  result  that  Important  photo 
dealers  everywhere  maintain  extensive 
libraries  of  8mm.  and  16min.  film  subjects 
which  may  be  rented  or  purchased  out- 
right. 

To  guide  our  readers  in  the  selection  of 
an  evening's  show,  HOME  MOVIES  will 
also  present  on  this  page  each  month 
data  concerning  new  film  releases  and 
other  timely  subjects. 

Listed  below  are  dealers  who  maintain 
Sim  libraries. 

CALIFORNIA 

BAKERSFIELD 

Edwards  Camera  Exchange 

1609— 19th  8t. 
HOLLYWOOD 

Bell  &  Howell  F^lmosound  Library 

716  N.  La  Brea  Ave. 

Morgan  Camera  Shop 

6262  Sunset  BlTd. 

SAN  LUIS  OBISPO 

Shadow  Arts  Studio 

1036  Chorro  St. 
SOUTH  GATE 

Holly  woodland  Studios  (Local  Only) 

9320  Oalifornia  Ave. 

DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  tz  Howell  FUmosound  Library 
1221  G  St.,  N.  W. 


ILLINOIS 

CHICAGO 

Bell  C&  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

KANSAS 

WICHITA 

Lewis  Film  Exchange 
216  East  1st. St. 

MASSACHUSETTS 

BOSTON 

Don  Elder's  Film  Library 
739  Boyleston  St.,  Dept.  HM 
Frank  Lane  and  Company 
5  Little  Building 

MISSOURI 

ST.  LOUIS 

Swank's  Motion  Pictures 
620  North  Skinner  Blvd. 

NEW  YORK 

BUFFALO 

Movies  for  the  Home 

211  Main  St. 
NEW  YORK 

Bell  &  Howell  Filmosound  Library 

30  Rockefeller  Plaza 

Walter  O.  Gutlohn.  Inc. 

25  West  45th  St. 

Haber  &  Pink,  Inc. 

12-14  Warren  St. 

Medo  Photo  Supply 

15  West  47th  St. 

National  Cinema  Service 

69  Dey  St. 

OHIO 

DATTON 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 

WISCONSIN 

MILWAUKEE 

Photoart  House 

84  North  Planklnton  Ave. 


J/  ^ou  want  a  FILM  to  ^now  .  .  . 

..  .  here's  news  of  timely  subjects  for  home  projectors 


The  Yanks  In  Action 

The  first  8  mm.  and  i6mm.  motion 
pictures,  showing  Americans  actually 
in  battle  action  against  the  Japanese, 
are  now  available  for  home  projectors. 
"U.  S.  Navy  Blasts  Marshall  Islands!" 
just  released  by  Castle  Films  is  a  thrill- 
ing film  of  America's  surprise  descent 
upon  the  Jap-mandated  group  of  islands^ 
a  picture  that  has  enough  genuine  action 
in  it  to  make  many  films.  It  is  war,  real 
war  with  Uncle  Sam  giving  back  his 
first  instalment  for  Nippon's  treachery 
at  Pearl  Harbor. 

Preparations  for  the  assault  are  shown 
as  the  Eastern  fleet  ploughs  the  Pacific 
toward  battle.  Planes,  bombs,  guns,  mu- 
nitions, ever)'thing  is  made  ready  for  the 
instant  use  that  roars  mightily  as  soon 
as  position  is  reached  within  firing 
range.  Salvo  after  salvo  blazes  from 
many  batteries,  and  the  deadly  accurate 
gunmanship  of  Yankee  sailors  is  seen  as 
great  explosions  occur  on  shore,  oil  tanks 
bursting  and  supply  depots  sending 
palls  of  smoke  high  into  the  skies. 

An  enemy  cruiser  and  aircraft  car- 
rier are  seen  hit  and  sinking,  and  the 
filming  of  aerial  combat  has  never  been 
equaled.  Several  Jap  planes  are  destroyed 
as  anti-aircraft  guns  fill  the  air  with 
puffing  hot  steel.  One  Jap  pilot,  his 
plane  damaged,  attempts  to  land  on  an 
American  carrier,  but  he  is  met  with  a 
barrage  of  fire,  and,  a  mass  of  flames, 
the  plane  swerves  into  the  ocean.  The 
precision,  speed  and  coolness  of  Ameri- 
can gunners  in  the  thick  of  the  fight  is 
a  delight  and  inspiration  to  watch.  Some 
of  the  slight  damage  that  was  done  to 
American  vessels  is  shown,  but  the  pic- 
ture leaves  no  doubt  that  the  bases  from 
which  Japan  attacked  Wake  Island  and 
a  great  many  Jap  ships  and  planes  were 
utterly  destroyed.  U.  S.  Navy  Blasts 
Marshall  Islands!"  is  available  from  most 
photographic  dealers  in  five  sizes  and 
lengths.  If  not  available  from  your  deal- 
er, write  Castle  Films,  New  York  City. 


Arc  Welding  Film 

Six  one-reel,  all-color  sound  motion 
pictures  designed  to  help  speed  war  ef- 
forts through  the  faster  and  better 
training  of  welding  operators  are  now 
under  way  for  the  General  Electric 
Company. 

Because  they  will  show  for  the  first 
time  just  what  actually  goes  on  inside 
the  arc  the  "Inside  Arc  Welding"  pic- 
tures will  be  of  great  interest  to  the  ex- 
pert welder  as  well  as  the  beginner. 
Through  the  application  of  new  meth- 
ods of  lighting,  the  all-color  pictures 
will  show  the  electric  arc  in  operation, 
revealing  details  of  the  arc  and  crater 
impossible  to  photograph  previously. 

Ingenious  animated  cartoons  and  act- 
ual welding  shots  will  be  combined  to 
add  punch  to  the  treatment  of  the  sub- 
ject. Featured  in  the  cartoons  will  be 
"Joe  Magee,  the  Welder"  a  timid,  but 
Ukeable  character  created  by  Holly- 
wood, especially  for  the  job. 

Information  as  to  how  to  obtain  the 
pictures  will  be  supplied  by  the  Visual 
Instruction  Section,  Publicity  Depart- 
ment, General  Electric  Company,  Sche- 
nectady, N.  Y.,  or  the  nearest  General 
Electric  office  or  arc  welding  distributor. 


Reel  for  Raid  Wardens 

"Air  Raid  Warden,"  reported  the  first 
American  produced  instructional  film 
on  a  phase  of  the  problem  of  air  raid  pre- 
cautions, is  now  available  from  Brandon 
Films,  Inc.,  i6oo  Broadway,  New  York 
City.  A  full  one-reel  i6  mm.  sound  film, 
it  is  designed  for  use  as  an  auxiliary 
teaching  aid. 

The  film  was  produced  in  San  Fran- 
cisco in  cooperation  with  local  officials 
and  industrial  executives  and  presents 
the  functions  of  a  local  air  raid  warden 
prior  to  and  during  a  blackout  in  a  calm, 
clear  and  reassuring  manner. 


HOME  MOVIES  FOR  APRIL 


PAGE  155 


In  conclusion,  the  warden  summar- 
izes his  duties,  stresses  necessity  of  gain- 
ing cooperation  of  the  people  in  his 
block  through  courtesy  and  diplomacy 
so  that  when  attack  comes,  we  shall  be 
prepared  to  demonstrate  that  America's 
air  raid  wardens  can  act  cooly  and  cour- 
ageously under  fire. 

The  picture  runs  lo  minutes  and  is 
for  sale  at  $25.00  per  copy.  Rental  rates 
are  $2.50  per  day  and  copies  of  the  film 
are  available  directly  from  Brandon 
Films,  Inc.,  the  distributors,  and  from 
local  educational  film  libraries. 


Keystone  Comedies 

Some  of  the  good  old  Keystone  com- 
edy favorites  of  the  silent  days  are  now 
being  made  available  to  8  mm.  projector 
owners  by  Cope  Studios,  3720  So.  Figue- 
roa,  Los  Angeles,  Calif.  Prints  are  op- 
tical reductions  of  good  quality,  accord- 
ing to  Cope  Studios  and  each  subject 
consists  of  two  reels  or  a  total  of  ap- 
proximately 400  feet. 

First  release  announced  in  February 
is  "Step  Forward"  featuring  cross-eyed 
Ben  Turpin,  one  of  Mack  Sennett's  top 
stars,  also  Phyllis  Haver.  The  second  re- 
lease is  "The  Laurel  Twins"  in  which 
Stan  Laurel,  of  the  now  famous  Laurel 
and  Hardy  comedy  duo,  plays  a  dual 
role  of  twin  brothers. 

A  new  release  is  planned  each  month 
and  the  films  are  available  direct  from 
Cope  Studios  at  $8.00  per  subject.  Films 
are  available  for  rental  only  from  dealers. 


There  Goes  My  Heart 

Movie  Amateurs  interested  in  screen- 
ing feature  sound  pictures  will  find  in- 
terest in  this  theatrical  film  consisting 
of  nine  reels  with  a  running  time  of  85 


,  J  NEWS  THRILLS  of  1942 

Just  Re/eased!   


.  .  .  authentic,  on-the-spot  mo- 
tion picture  record  of  the  blaz- 
ing action  .  .  .  the  step-by-step 
fierce  struggle  of  free  men 
against  oppression  .  .  .  the  thrill- 
ing drama  of  world-searing  cur- 
rent events  —  making  today's 
flaming  headlines  —  tomorrow's 
glorious  history! 

.  .  .  the  first  of  four  Volumes  of 
"NEWS  THRILLS  of  1942." 

Start  now — to  assemble  a  com- 
prehensive film  encyclopedia  of 
dramatic  world  news  events  .  .  . 
for  YOUR  film  library.  Order 
Volume  I — at  your  dealer's  to- 
day! Watch  for  release  dates — 
Volumes  2,  3  and  4 — announced 
soon. 


8  and  1 6  mm.  Silent  or  Sound 
BRITISH  COMMANDOS  IN  ACTION 

-k  JAPS  BOMB  PEARL  HARBOR 

^  BATTLE  OF  SINGAPORE 

UNITED  STATES  DECLARES  WAR 

k:  BURNING  OF  S.  S.  NORMANDIE 

k:  RUSSIA  STOPS  HITLER 

k:  SHELLING  OF  ARUBA 

k:  U.  S.  NAVY  BLASTS  MARSHALL 
ISLANDS 


OFFICIAL  FILMS,  INC 

425  FOURTH  AVENUE,  NEW  YORK  CITY 

8MM  Short  Approx.   50  ft.  $L75 

8MM  Feature  ....  Approx.  180  ft.  5.50 

I6MM  Short  ......  Approx.  100  ft.  2.75 

1 6MM  Feature  ....  Approx.  360  ft.  8.75 

I6MM  Sound-on-FIlm  .  Approx.  350  ft.  17.50 


The  Seal  of 
The  Best 
in  Home 
Movies 


Enclosed  is  $ 
Ship  C.O.D.  


Send  VOLUME  1  "NEWS  THRILLS  of  1942"  in  size,  length 
and  quantity  checked — to 

NAME  


ADDRESS 


CITY   STATE 

QUANTITY  LENGTH 


PRICE 


PACE  156 


HOME  MOVIES  FOR  APRIL 


Buy  Quality  Movie  Film 

8mm        -        9V2mm        .  16mm 

Films  in  Bull(.  no  processing  or  Spooled  for  Daylight 

Loading  with  free  processing  included. 

SUPER  PANCHRO  REVERSAL— Ami  Halo  Backing. 

Speed  24-16 — Scored  for  Easy  Separation. 

lOfl  ft.  33  ft. 
Double  8  .  .  .  $3.75  $1.35 
Single  8  .  .  .  2.10  .85 
9htnm  3.30  i3  rolls) 

SUPER  CINEPAN  PLUS  REVERSAL— UnseoreJ 

Speed  64-40 — Lavender  Non-Halation  Base. 

100  ft.  33  ft. 
Double  S  .  .  .  $4.00  $1.50 
Single  S  .  .  .  2.23  .95 
I6mm  3.85 

SUPER  CINEPAN  REVERSAL— Unscored. 

Speed  24-16 — Lavender  Xon-HalatiSfi  Base. 

100  ft.  33  ft. 
Double  8  .  .  .  $3.60  $1.30 
Single  8  ...  2.00  .80 
16nim  3.50 

CINECHROME  SEMI-ORTHO  REVERSAL— 

Unscored.  Speed  8-2  Lavender  Non-Halatinn  Base. 

100  ft.  33.  ft.  400. ft. 
Double  8  .  .  .  $1.85  $  .80  $6.50 
Single    8    ...    1.20  .55  4.25 

lemm   1.60  6.00 

CINE-KODAK  POSITIVE  TITLE  FILM— fnscored 

Speed  6  in  Photoflood  Light. 

100  ft.  33.  ft.  400. ft 
Double  8  .  .  .  .  $1.45  $  .65  $5.00 
Single    8    ...    1.00  .45        3  50 

16mm  1.10  4.25 

Clear,  Purplehaze.  Yellow.  Red,  Amber.  Special  Blue, 

Also  DuPont  Lavender.  Light  Amber. 
Complete  New  Reversal  and  Title  Instructions  Free 
with  Film  Orders.  Separately  50  cents  each.  Cash, 
check  or  money  order  for  quick  service.  Denosit 
$1.00  required  with  C.  O.  D.  orders.  Special  Deliv- 
ery, 15c;  Air  Mail  ?1.00  Estra.  Overpayments  re- 
funded or  credited.  No  stamps,  please. 

CAMERA  SPOOLS  WITH  CANS— Each 
Keystone  Dbl.  8  .  .  $  .40  Keystone  Sgle.  8  $  40 
Eastman  Dbl.  8  .  .50  T'nives  Sgle.  8  .  15 
Double  8mm.  Not  E.  K.  make.  35c 
EXTRA  CANS.  Double  8  and  Single  8  size  .  .05 
100  ft.  and  50  ft.  16mm.  size  .  .  lo 
Non-Humidor  Steel  400  ft.  16mm.  or  8mm!  '.  .50 

MISCELLANEOUS 

BAIA  Precision  AU-Metal  8mm.  Film  Slitter  $2  50 
FOTOFADE  DTE  for  making  Chemical  Fades  1  00 
FOTOFAUE  WIPE-OFF  TAPE,  per  roll  .  .  ;60 
CINETINTS,  6  Color  Set  with  Instructions  .  3  00 
DuPONT  VISCOSE  SPONGES,  each  .  .  35 
HOME  MOVIES,  Back  Issues,  1936-37-38-39  .  !l5 
Not  all  months  in  any  year,  1940-41-42  30 
TITLE  DEVELOPER,  tubes,  each  make  16  oz.  '.15 
B   &   H     Lamp     Adapters   ....  i  qq 

ADOLPH  HITLER.  Doing  Lambeth  Walk  '  '  ' 

Ifimm.   Sound  ...  6  00 

COLOR  TRAVEL  &  ART  FILMS— 8- 16mm 
REVERSAL    PROCESSING.    33    ft     Dbl  8 
65c;  Sgl.  8.  35c;  100  ft.  Dbl.  8  (1  Pc.)  $2  00- 
100  ft.  16mm.    .    .  1-5 
TITLE  DEVELOPING  Dbl.  8.  33  ft.  Vsc-  Sfl  8  " 
40c:  100  ft.   16mm.,  $1.25;   100  ft.   Dbl  8 

'1  P"-'  1.50 

3c  Stamp  brings  complete  lists. 
Phone  Lincoln  1207 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  ST.  JOSEPH  ST.  INDIANAPOLIS,  IND. 


DE  LUXE  BINDINGS  for 
HOME  MOVIES 

Done  In  blue  leatherette  and  embosseri 
m  gold,  with  solid  grain  wood  backs  and 
lull  instruction  for  insertion,  these  bind- 
ers are  the  last  word  in  simplified  filing 
and  recording. 

$1.00 

"Embossed  in  gold  with   your  name 
50  cents  additional." 

HOME  MOVIES 

6060  Sunset  Blvd.,  Hollywood,  Calif. 


Use 

Thrifty 
1  6mm. 
Film 


Why  Pay  More? 

THRIFTY  ORTHATTPE,  for  outdoor 
shooting,  non-halation,  fine      »n  aE 

grain,  per  100-ft.  roll   9*mX» 

Compare  to  any  film  up  to  twice  the  tost. 

California    Buyers    Include    Sales  T.ai 


THRIFTY   FILMS    l"^*"  9"   watts  station 
Los  Angeles, 


Calif. 


When    You    Buy  BAIA 
You  Buy  the  Best 

Precision  Made; 
Guaranteed  Perfect 

$2.50 

From  Your  Dealer  or  Direct 
B.4IA  MOTION  PICTURE  ENG. 
Ififl  Victor 
Hirhl.Tnd  Park.  Michigan 


minutes.  A  sparkling  cast  of  players 
headed  by  Fredric  March  and  Virginia 
Bruce  highlight  the  story  which  con- 
cerns an  hearess  who  takes  advantage  of 
her  grandfather-guardian's  unexpected 
call  to  London  to  free  herself  of  the 
shackles  of  wealth  and  position  in  or- 
der to  enjoy  life.  News  of  the  escapade 
reporter,  pursues  the  heiress  in  esarch  of 
a  story,  and  falls  in  love  with  her;  but 
only  after  many  rebuffs  and  the  assist- 
ance of  friends. 

"There  Goes  My  Heart"  is  available 
for  rental  at  Si 7. 50  per  day  from  Post 
Pictures  Corp.,  723  Seventh  Ave.,  New 
York  City. 

New  Rental  Library 

Because  of  continuous  demand  from 
home  movie  fans,  schools,  dealers  and 
other  film  users,  Commonwealth  Pic- 
tures announce  a  1 6  mm.  S.  O.  F.  Rental 
Library.  Up  to  this  time,  films  might 
only  be  purchased  from  Commonwealth 
— now  they  also  may  be  rented. 

The  Rental  Library  now  includes 
many  of  Hollywood's  most  outstanding 
hits. 

The  library  also  makes  available  origi- 
nal technicolor  and  black-and-white 
cartoons,  short-subject  musicals  and 
Shirley  Temple  comedies. 

Commonwealth  has  just  issued  its  first 
Rental  Library  catalog  and  will  be  glad 
to  send  copies  upon  request.  Write  Com- 
monwealth Pictures,  729  Seventh  Ave., 
New  York  City. 


Algiers 

Remember  "Algiers"  starring  Heddy 
LaMarr  and  Charles  Boyer?  Well  now 
its  available  in  i6mm.  sound  from  the 
rental  library  of  Commonwealth  Pic- 
tures Corp.,  729  Seventh  Ave.,  New 
York  City.  Write  them  for  rental  rates 
and  Free  library  catalogs. 

Patriotic  Trailer 

Particularly  suited  for  home  projec- 
tion and  for  showing  at  assemblies  in 
grammar  schools,  high  schools  and  col- 
leges, is  a  new  60  foot  i6mm.  sound 
trailer,  "The  Star  Spangled  Banner,"  of- 
fered by  Official  Films,  Inc. 

The  words  of  The  Star  Spangled  Ban- 
ner are  superimposed  on  a  series  of  gen- 
eral scenes  of  American  life  culminating 
in  a  series  of  lap  dissolves  on  George 
Washington  and  President  Roosevelt. 

Price  of  this  timely  trailer  is  $4.00 
and  is  available  from  the  producer,  Of- 
ficial Films,  Inc.,  425  Fourth  Ave., 
N.  Y.  City. 

Catalog 

The  Dayton  Film  Rental  Libraries  are 
out  with  a  rental  film  catalog,  listing 
8mm.  and  i6mm.  silent  and  i6mm. 
sound,  from  shorts  to  features,  which 
include  everything  from  cartoons  to  re- 
ligious subjects.  Movie  equipment  and 
accessories  are  also  listed.  You  are  invit- 
ed to  send  to  the  Dayton  Film  Rental 
Libraries,  2227  Hepburn  Avenue,  Day- 
ton, Ohio,  for  your  copy  of  this  catalog. 


EMULSION   RATINGS  FOR  8MM  AND   16MM  FILMS 


Scheiner 


AGFA  AXSCO 

Ifimm   SSS  Pan    

16  HypaiL   

16mm  Panchromatic  

16mm  Supreme  Pan.  Negative.. 

16mm  Positive  

16mm  Plenachrome  

8mm  Twin-8  Hypad    

8mm   Filmopan....  „  

Twin  8mm  Pan.  „  

Twin  8mm  SSS  Pan  

Straight  8  Pan  

**DrPONT 

Regular  Pan  (Rt\.i  Type  321  .. 

Super  Pan  iRev.  i  Type  302  

Sup.-2  iN-PorRv.i  Type  301 
Tj-pe   314   Pan    i  N  -P.  or  Rev. ) 

Positive  Type  600  

Sound  Record.  Pos.  Type  601.  .. 

EASTMAN 

16mm  Super  XX  Pan  

16mm  Sufer  X  Pan  _  

16mm  Safety    

16mm  Sound  Pan    

16mm  Pan.  Negative    

Ifimm  Positive     

8mm  Super  X  Pan.    

8mm  Regular  Pan  

Kodachrome  (8  and  l?mml  

Kodachrome  "A"  (8  and  16mm) 

GEVAERT 

Super  Reversal     

Panchro   „  „  

Ortho    


I  I 

29  I  ■>-  1100 

24  I  23  I  32 

21  I  20  I  16 

27  I  23  I  64 


12  I 
20  I 
24  I 
24  I 
20  I 
29  I 


3 

....  I  12 
23  I  32 
23  I  32 
18  I  12 
27  1100 


24  I  23  I  32 

I  I 

I  I 

20  I  18  r  12 
29  I  28  1100 
26  I  23  I  64 

21  I  20  I  16 
12  I  .  ..  I  2 
17  I  9  1  6 


..  .  I  ....  1100 

24  I  23  I  32 

20  I  18  I  12 

23  I  21  I  24 

23  I  21  I  24 

16  I  10  I  5 

23  I  21  I  24 

IS  I  IS  I  8 

18  I  14*1  8 

18*1  21  I  8' 

I  I 

I  I 

23  I  21  I  24 

20  I  18  I  12 

21  I  17  I  16 


I 

80  1125 
24  I  48 
12  I  24 
40  1100 


1 


16 

24  I  48 

24  I  48 

ID  I  16 
80  1123 

24  I  48 

I 

I 

8  I  16 

80  I  .... 

40  I  48  I  £4 

12  I  ....  I  "... 
1/6  I 
1  I 
I 


I  32 
I  32 
1  12 
1100 
i  32 
I 
I 

i  n 


1  I 


S«  1123 

24  I  48 

8  I  16 

16  I  .... 

16  I  32 

3  I  16 

20  I  32 

5  I  12 
3»l  12 

12  I  12' 
1 
I 

16  I  32 

8  I  IS 

6  I  24 


1100 

I  32 

I  li 

I  .... 

I  24 

I  4 

I  24 

I  8 

I  4» 

I  16 
I 
I 

I  24 

I  12 

I  8 


s     e-  c 


GEN'ERA                         I  I  I  I 

Super  Meteorpan   I  27  I  25  I  64  I  40 

Super  Panchromatic   I  24  |  23  I  24  I  16 

Super    Ortho  I  21  I  17  I  16  I  6 

Movetone  Ortho   I  19  I  13  I  16  I  6 

Seml-Ortho   _....|  U  I  12  I    8  1  2 

I  i  I  I 

KIN-O-LirX                    I  I  I  I 

No.    1     I  18  I  ....  I    8  I  .... 

No.   2   I  20  I  16  I  12  1  .... 

No.   3    I  26  I  24  I  50  I  40 

No.  3  Gold  Seal  I  No  I  29  I  No  1100 

I  I  I  I 

HOLLYWOOD                  I  I  I  I 

S   S   Pan    -  I  26  1  25  I  50  I  40 

Pan    I  21  I  20  I  IS  I  12 

Semi-Ortho   I  18  I  12  I    8  1  2 

I  I  I  I 

CNIVEX                           !  I  1  I 

Standard   I  17  1  14  I    SI  _ 

ritrapan   !  20  I  18  I  12  I  6 

I  I  I  I 

GRAPHICHBOME             I  I  I  I 

Regular   .  .       .   '  18  I  10  I    8  i  3 

Plus    '  20  I  17  '  12  I  « 

Superpanex  No.  ino  '  ?<i  I  ?7  iino  i  "» 

Suoerpanex  No.  21            I  23  i  'l  '  24  I  1"! 

Colortone                            •  ]«  i  in  i    fi  '  3 


"Eatings  for  last  four  Dupont  films  are  for  straight  development. 

formulas  and  technique  employed. 
•With  filter. 


Ratings  for  reversal  depend  uptn  processing 


HOME  MOVIES  FOR  APRIL 


PAGE  157 


cAmateur  built  Aound  camera 


•  Continued  from  Page  14} 

tern  most  universally  used  today.  A 
"single-system"  recording  camera  is  one 
in  which  the  sound  and  photographic 
images  are  put  on  one  film  simultane- 
ously as  it  passes  through  the  camera. 
The  double-system  sound  camera  merely 
records  the  photographic  image  on  the 
film  while  it  runs  through  the  camera 
at  sound  speed,  i.e.,  24  frames  per  sec- 
ond. The  sound  track  is  recorded  on  a 
separate  instrument  interlocked  with  the 
camera  so  that  speeds  of  both  are  con- 
stant. 

The  first  step  in  remodeling  the  Filmo 
was  to  remove  the  spring-drive  mechan- 
ism and  all  the  gears  except  the  right- 
angle  gears  which  drive  the  shutter 
mechanism.  Since  a  demountable  film 
magazine  was  to  be  used  in  place  of  the 
usual  method  of  spooling  the  film  with- 
in the  camera,  the  take-up  spindles  and 
gears  were  also  removed.  The  top  of  the 
camera  was  cut  off,  as  shown  in  illus- 
trations, and  finished  off  with  an  alumi- 
num cap  fitted  with  light  traps  for  the 
film  running  from  the  magazine  into 
the  camera. 


To  accommodate  the  recording  unit, 
it  was  necessary  to  remove  a  section 
from  the  back  of  the  camera  and  form 
a  new  housing  of  metal  in  its  place  that 
would  encase  the  recorder.  Fig.  2  shows 
the  completely  remodeled  camera  with 
camera  door  removed,  revealing  the 
sound  sprocket  (I),  monitor  window 
(J),  and  the  optical  sound  system  (K). 
The  sound  sprocket,  turning  at  180 
R.P.M.  draws  the  unexposed  film  from 
the  supply  spool  and  feeds  it  to  the  shut- 
ter. A  gear  ratio  of  8  to  i  was  found 
necessary  between  the  sound  sprocket 
and  the  shutter  movement.  Thus  while 
the  shutter  opens  and  closes  24  times 
per  second,  the  sound  sprocket  makes 
three  revolutions. 

After  the  film  passes  the  shutter,  it 
returns  to  the  sound  sprocket  which 
moves  it  to  the  recording  unit  where  it 
passes  between  the  recording  lamp  and 
the  galvanometer.  The  take-up  sprocket 
moves  the  film  from  recorder  to  film 
magazine  where  it  is  wound  on  the  take- 
up  spool.  This  spool  is  actuated  through 
extension  of  the  spindle  through  the 


i 


can  / 


0»A 


^^^^  ... 


can 


f„^^aea^»- 

0*0  ^ 


•■^/'eoioVn^'ou  see  ^,,v 


ease 


oS 


sheet 


)0S. 


Rated  as  the  liHost  Precise  and  HHost  Efficient 
Winders  for  8mm  and  16mm  Moving  Picture  film! 

Perhaps  it  may  be  trite  to  say  so  —  nevertheless,  it  can 
almost  positively  be  stated  that  these  are  the  Winders  home 
movie  makers  have  been  waiting  for.  You  no  longer  need 
see  one  of  your  prized  productions  go  up  in  scratches,  you 
no  longer  need  scramble  around  on  the  floor  trying  to 
untangle  films.  When  you  work  with  AMERICAN  BOLEX, 
the  exclusive  TENSION  CONTROL  feature  sees  to  it 
that  your  film  stays  on  the  reel,  right  where  it  belongs,  no 
matter  how  fast  or  how  slow  you  wind. 

Yes,  and  you  can  even  take  your  hands  "off  everything" 
during  the  winding  process.  You  can  put  a  drag  on  either 
feed  or  take-up  reels  to  control  the  speed  of  the  winding. 
Moreover,  you  won't  get  a  case  of  "winder's  cramp"  because 
the  properly  designed,  sure-grip,  non-slip  red  catalin  han- 
dle makes  using  these  Winders  a  pleasure.  All  precision 
gears  are  enclosed  and,  due  to  lifetime  self-lubricating 
bearings,  they  need  no  oil.  A  beautiful  accessory,  too.  ^6.00 
each,  or  ^12.00  pair. 

Af  Your  Oea/er's  or  Order  Oiracfl 


155  EAST  44th  STREET 


NEW  YORK,  N.  Y, 


estern  Representative:  Frank 
A,  ta«[|l  Co..  2707  W.  Pico 
St.,  l^Afl^elei,  California. 


PACE  158 


HOME  MOVIES  FOR  APRIL 


Tonic  for  War-Nerves 

L  A 


Beautiful  Color  Movie  of  Washington 
prior  to  the  War 

Here's  a  soothine.  exquisitely  lovely  color 
movie  made  of  your  Nation's  Capital  dur- 
ing Clierry  Blossom  time.  It  shows  the  fa- 
mous Cherry  Blossoms  in  their  natural, 
glorious  color,  shots  of  President  Roosevelt  at 
the  ege-roUing  on  the  White  House  lawn,  shots 
of  Vice  President  laying  wreath  on  Unknown 
Soldier's  Tomb  and  other  famous  events. 
Here's  a  movie  that's  historically  famous  as 
well  as  artistically  perfect.  Reserve  yours, 
now. 

\Zt.%M.SOZl  $12.50 

Send  check  or  money  order  to 

BYRON'S  Inc. 

625  ISth  St.  N.  W..  Washington.  D.  C. 
One  of  tlie  leading  motion  picture  producers  in  tlie  East 


PADriiikiC  sm-iem 

DMIIIlHin  J  MOWf  MAKERS  , 


EASY   TO  MAKE 


30x40  1-piece  tripod  screen, 
folds  into  compact  unit.  High 
quality  crystal  beaded  sur- 
face with  black  border. 
Blacif  crackle  finish  metal 
dust  proof  case.  Guaranteed 
$12.50  value. 


16£;  Bulk  Film 

Great  money  saver.  Try  It 
Get  dbl.  value  sgl.  8  $1.15. 
400'  16mm.  notched  every 
100'  $4.95. 

Order   Supplies   and  Film 
Direct  from  This  Ad 


$2.50 

value  for 

$1.69 

Put  zip  into  your  films  with 
titles.  Write,  print  or  draw 
your  titles  on  a  card  and 
"shoot."  Easy — no  fuss  or 
bother.  When  ordering  state 
make  of  camera  (8mm.  only) 
Revere.  Revere  Turret,  Key- 
stone, B  &  H.  Eastman  20- 
2.').  Unlvex.  Worth  $2.50^ 
this    month    only — $1.69. 


SUPERIOR  BULK  FILM  CO. 

188  W.  Randolph  St.,  Dept.Q|  Chicago,  III. 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   aod  Professional 
16mm   —  8mm 
Blacic  &  White,  Tinted  and  Kodachrome 
Write  for  our  new  llliiBtrated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York,  N. 


Photographic  Products 
of  Distinctive  Merit  .  .  . 


magazine  where,  fitted  with  a  pulley,  it 
is  operated  by  a  spring  belt  extending 
from  the  central  motor  drive  within  the 
camera. 

The  eight-toothed  sound  sprocket  was 
obtained  from  an  old  Ampro  sound  pro- 
jector. All  other  rollers  and  parts  that 
were  required  were  machined  especially 
for  the  camera  by  Smith  and  what  addi- 
tional gears  were  required  were  obtained 
from  the  Boston  Gear  Company. 

Vibration  from  the  intermittent  claw 
of  the  shutter  proved  something  of  a 
problem  for  Smith,  at  first,  for  it  caused 
chattering  and  distortion  in  the  sound. 
This  was  successfully  eliminated  by  the 
addition  of  a  3 -lb.  filtering  wheel — that 
large  "flywheel"  to  be  seen  in  Fig.  3, 
which  was  made  entirely  by  Smith.  This 
filter  wheel,  mounted  on  ball  bearings, 
balances  movement  of  the  camera  mech- 
anism and  tends  to  keep  action  of  all 
parts  of  the  camera  fairly  constant.  This 
function  was  further  enhanced  by  the 
addition  of  a  flexible  connection  be- 
tween the  drive  shaft  and  sound  sprock- 
et in  place  of  the  direct  drive.  In  con- 
junction with  the  fly-wheel  filter,  this 
flexible  connection  acts  as  a  shock  ab- 
sorber between  the  driving  mechanism 
and  the  sound  system. 

Fig.  3  shows  the  take-up  pulley  (A), 
footage-indicator  (B),  viewfinder  (C), 
galvanometer  (D),  motor  drive  shaft 
(E),  and  the  filter  wheel  (F).  When 
the  housing  for  the  recording  unit  was 
added,  it  became  necessary  to  change  po- 
sition of  the  viewfinder  if  not  entirely 
reconstruct  it.  This  was  accomplished 
by  combining  parts  of  the  original  find- 
er with  a  prismatic  combination  from  a 
finder  obtained  from  an  old  model  B 
Cine  Kodak. 

In  order  to  use  the  camera  for  making 
tests  during  its  experimental  stages  of 
construction,  Smith  was  obliged  to  use 
a  cumbersome  motor  from  an  old 
R.C.A.  sound  projector.  This  is  fairly 
visible  in  Fig.  i.  It  has  given  fairly  good 
results  with  voice  recordings  but  as  the 
true  test  of  a  sound  recorder  is  the  fidel- 
ity with  which  it  records  music.  Smith 


looks  forward  to  the  time  when  he  can 
obtain  a  good  synchronous  motor  to  re- 
place the  present  power  plant  of  his 
camera.  Unfortunately  the  priority  sit- 
uation finally  has  caught  up  with  Smith, 
snatching  from  him  the  possibility  of 
realizing  complete  success  with  his  cam- 
era by  denying  him  opportunity  to  ac- 
quire the  much  needed  motor.  It  is  like- 
ly, however,  that  some  sympathetic  am- 
ateur, who  may  learn  of  Smith's  predica- 
ment, can  put  him  in  touch  with  source 
of  a  good  second  hand  1 10  volt  60  cycle 
synchronous  motor,  reasonably  priced 
and  rating  1/20  to  1/30  horsepawer  at 
1800  R.P.M. 

Although  the  actual  material  cost  of 
this  sound  camera  did  not  exceed  $200, 
the  unit  as  it  stands — complete  as  illus- 
trated in  Fig  I — could  not  be  purchased 
today  for  less  than  $iooo,  according  to 
Smith.  Much  of  his  saving,  however,  was 
due  to  his  ability  as  a  mechanic  and  the 
fact  that  much  of  his  material  was  read- 
ily acquired  from  scrap  and  "left-over" 
parts  about  the  garage. 

"Before  starting  this  project,  I  had 
never  seen  the  inside  of  a  commercially- 
made  sound  camera,"  said  Smith.  "I  had 
to  get  most  of  my  information  from 
books  on  sound  recording  and  other  lit- 
erature obtained  from  manufacturers. 
These  sources,  of  course,  still  left  much 
to  be  desired,  and  building  the  camera 
was  a  great  deal  like  inventing  one." 

When  Smith's  camera  was  completed 
and  the  first  sound  film  pronounced  a 
success,  the  news  traveled  rapidly.  Soon 
he  received  many  offers  for  its  use.  The 
University  of  Akron  is  reported  to  have 
approached  him  regarding  making  a 
sound  film  for  them.  Other  schools  are 
also  interested.  But  Smith's  first  com- 
mercial job  with  his  camera  is  going  to 
be  a  short  musical  film  of  a  local  or- 
chestra in  action. 

With  sound  for  home  movies  the  main 
topic  of  discussion  among  advanced 
amateurs  these  days,  there  is  little  doubt 
that  Smith's  camera  conversion  tran- 
scends all  others  as  the  new  "Dream" 
camera. 


lA)kat  to  know  about  meteri 


•  Continued  from  Page  144 

been  misled  to  thinking  that  once  they 
acquire  an  exposure  meter,  all  their  ex- 
posure troubles  will  be  over;  that  de- 
termining correct  exposure  will  be  al- 
most automatic.  Unfortunately  this  is 
not  the  case. 

The  extinction  type  of  meter,  al- 
though less  costly  than  the  photoelectric 
type,  is  nevertheless  a  very  good  acces- 
sory in  the  hands  of  one  who  takes  the 
time  to  study  and  perfect  its  use.  It  re- 
quires, perhaps,  more  experience  in  us- 


ing it  in  order  to  obtain  good  results  be- 
cause of  the  human  element  that  enters 
into  its  use.  The  extinction  type  meter 
leaves  much  to  the  human  eye  in  calcu- 
lating exposure  and  as  all  eyes  do  not 
see  light  in  the  same  degree  of  intensity, 
an  incorrect  exposure  reading  is  possible. 
For  this  reason,  one  using  this  type  me- 
ter should  always  use  the  same  eye  in 
sighting  the  instrument  on  a  scene  or 
object. 

When  looking  through  an  extinction 


MOTION  PICTURE  SCREEN    f  ||(|TEI|TEJ 

and  ACCESSORIES  CO.,  INC.  ^Tf^inMJO^ 
351  Weit  52nd  St..  N«w  York  City     ^^'^  j'ji 


HOME  MOVIES  FOR  APRIL 


PACE  159 


type  meter  to  take  a  reading,  it  should 
be  sighted  on  all  sections  of  the  scene 
in  order  to  establish  a  proper  reading,  as 
its  angle  of  view  is  very  narrow  and 
only  takes  in  a  small  section  of  the  scene 
at  one  time.  If  it  is  required  to  ac- 
centuate just  one  part  of  the  picture, 
then  that  is  the  only  point  at  which  it 
is  necessary  to  take  a  reading.  Other- 
wise, an  average  of  all  the  readings 
should  be  taken. 

There  are  times  when  this  narrow  an- 
gle of  view  has  a  distinct  advantage 
over  the  electric  meter,  the  angle  of 
which  is  quite  wide  unless  held  close  to 
the  object,  and  although  this  wide  angle 
will  give  good  average  readings,  some- 
times there  are  large  masses  of  light 
areas,  such  as  sky  and  water,  which  may 
bring  the  brightness  average  too  high 
for  our  purpose.  Similarly  large  masses 
of  dark  areas  will  make  the  average  too 
low.  This  all  has  to  be  taken  into  con- 
sideration. 

Most  errors  occurring  with  the  use  of 
an  electric  exposure  meter  are  caused  by 
the  filmer's  lack  of  understanding  of  the 
meter's  function.  Most  errors  are  due  to 
the  user  taking  the  reading  shown  by 
the  meter  without  considering  the  over- 
or  under-brightness  range  in  the  scene. 
For  example  where  wide  expanse  of  sky, 
water,  sand  or  snow  dominates  a  scene, 
the  light  reflected  from  these  areas  is 


greater  than  that  reflected  by  dark  ob- 
jects within  the  scene,  and  unless  al- 
lowance is  made  for  this,  the  exposed 
scene  will  result  in  over-brilliant  light 
areas  with  no  detail,  or  complete  opaque- 
ness, in  the  dark  objects. 

In  such  instances  it  is  essential  to  rec- 
ognize over-bright  areas  and  to  know 
what  details  in  the  scene  one  wishes  to 
obtain  properly  exposed.  "We  have  all 
seen  Kodachrome  movies  —  especially 
closeups  of  people  filmed  against  the  sky 
— where  facial  features  were  concealed 
in  deep  shadows.  Had  the  filmers  taken 
a  reading  with  the  meter  held  close  to 
subject's  face,  normal  exposure  of  sub- 
ject would  have  been  obtained  without 
seriously  affecting  exposure  of  the  sky  or 
background. 

On  the  other  hand,  similar  errors  can 
be  made  in  taking  a  reading  on  distant 
landscapes.  Let  us  assume  there  is  a  scene 
to  be  photographed  with  tree  covered 
hills  on  either  side  and  a  snow  capped 
mountain  in  the  distance.  Obviously  to 
expose  for  the  tree  covered  hills,  the 
snow  capped  mountain  would  be  washed 
out — merged  with  the  sky.  To  expose 
for  the  distant  mountain  would  result  in 
a  silhouette  effect  of  the  hills  in  the  fore- 
ground. 

Assuming  that  details  of  all  objects 
are  desired  in  the  picture,  it  becomes 
necessary  to  calculate  what  proportion 
of  the  scene  is  in  the  bright  range  and 


■  IKDOORS  ^> 


Everything's  under  control  when  you 
make  movies  or  stills  indoors  with 
your  own  YICTOR  Lights.  With  me- 
ter or  calculator  you  determine  the 
stop  to  use,  and  you  know  that  a 
passing  cloud  won't  change  things 
when  you  "shoot."  Indoor  scenes 
have  the  charm  of  home  in  them 
which  makes  them  more  valuable  as 
the  years  pass.  The  VICTOR  line  of 
lighting  equipment  at  your  dealers' 
is  complete.  Get  what  you  need  for 
indoor  filming  NOW.  Prices  are 
reasonable. 

Write  for  FREE  Instructive  folder  describing 
the  complete  VICTOR  Line. 

James  H.  Smith  &  Sons  Corp. 

420  Lake  Street  Griffith,  Indiana 


The  Tripod  Head  that's  Almost  Human! 

Professionals  have  used  such  a  tripod  head  for  years  on  end  .  .  . 
now  amateurs  are  given  the  very  same  opportunity,  and  if  you  don't 
snap  it  up  immediately  then  you're  missing  the  greatest  efficiency 
and  convenience  you've  ever  experienced  in  tripod-head  perform- 
ance. Here's  GEARMASTER  ...  a  tripod  head  without  a  handle  to 
poke  you  in  the  wishbone;  that  doesn't  interfere  with  the  field  of 
view;  that  doesn't  dub  a  panorama  but  produces  flawless  pans 
mechanically.  Here's  GEARMASTER  ...  a  tripod  head  that  oper- 
ates smoothly  and  easily,  panning  and  tilting,  geared  for  every 
operation,  staying  locked  where  and  when  you  want  it  locked,  per- 
mitting quicker  and  easier  manipulation.  Movie  camera  owners, 
small  "still"  camera  devotees  who  will  marvel  at  the  ease  with  which 
they  can  use  their  range  and  viewfinders,  all  picture  fans  will  find 
GEARMASTER  the  most  versatile  and  easiest  to  operate  tripod 
head,  for  all  types  of  photographic  work.  Uncondition- 
ally guaranteed  against  defects  in  material  and  work- 
manship. ^17.30,  including  Excise  Tax. 

Manufactured  and  Disfribufed  by 

AMERICAN  BOLEX  COMPANY,  Inc. 


1 55  East  44th  Street 


New  York.  N.Y. 


Western   Representative:   Frank   A.  Emmet  Co.,  2707  W.   Pico  St.,   Loi  Angeles,  Calif. 


PAGE  160 


HOME  MOVIES  FOR  APRIL 


PROJECTO- 
EDITORS 

For   "Action  -  Edit- 
r>  ^     ^■iWVT^     -^y^gy     ing"  the  HoIl>'wood 

£"   9)t\  SS^Mh^^*^^^^^^^^      way! — permits  care- 
r^^l^t^ ful    inspection  of 
m.-jfy  brilliant,  fllckerless 

I"  M-*}    m^li-  '^iJ^'xS^^SP  motion  on  its  mini- 

ature screen.  Use  It 
to  transform  r  a  n- 
dom  "shots'*  into 
smooth  -  running  se- 
quences. 

8mm.  model,  complete  with  Jr.  splicer 

&   rewinds   $37.50 

16nun.  model,  complete  with  Sr.  splicer 

&   rewinds   $59.50 

8mm.  Editor  alone  $29.50 

1 6mm.  Editor  alone   $41.50 

CRAIG  JR.  &  SR.  SPLICERS  ^ 

Crais  Sr.  Splicer  (illustrated)  .^JI^^^^ 
makes  professional  splices  in  — "OwiL —  \^ 
four  simple  operations — without 
wetting-  film.  Equipped  with 
cutter  and  dry  scraper.  $10.95. 
Jr.  Splicer,  desired  for  accu* 
racy  and  sturdiness.  only  $3.95. 
Both  for  8  or  16nun. 


OTHER  ITEMS  MFD 

SKXTOR  TIKWTNDS 
$5.00  ea.— $10.OO  pr. 

.TT'Nion  rf:\vtnds 

$2.50  ea.— SS.OO  pr. 

CRAIG  DeLiue 
CASES 
for  all  cameras  and 
accessories 
AT  ALL 
DEALERS 


and  DIST.  by  CRAIG 

SR.  COMBTNATTON 

$21.50  complete 
JR.  rOMRIXATION 
$8.95  complete 
TIIALIIAMMER 
TRirODS 
'    available  in  sU  types 
and  sizes 
WRITE  FOR 
LITERATURE 


CRAIG  MOVIE  SUPPLY  CO 


The  Dramatic  Romance 
That  Thrilled  A  Nation  . . 

"ALGIERS" 


Featuring 
Hedy  LaMarr  and  Charles  Boyer 

A  thrilling,  new  kind  of  adventure 
story  .  .  .  vivid  and  absorbing  mel- 
odrama set  in  the  unforgettably- 
exciting  City  of  Secrets. 

This  is  only  one  of  the  parade  of 
hits — featuring  Hollywood's  great- 
est stars  and  pictures — now  avail- 
able in  1 6mm.  Sound  from  the  new 
Commonwealth    Rental  Library 

For  complete  list — send  today  for  your 
FREE  COPY  of  the  new  Catalog. 

Address:  Dept.  23 


COMMONWEALTH  PICTURES 

COIPOIATION 

729  Seventh  Ave.,  New  York,  N.  Y. 


MAKE  TITLES  IN  6  COLORSl 

On  Photographic 
Backgrounds 

NEW  -  INGENIOUS 
A-to-Z  COLOR 

VJtV.t  $6.50 

Everjlhlng  you  need  V' 
make  thousands  of  titles. 
No  special  skill  required. 

It's  easy  .  .  .  It's  Fun  . 
Outfit  includes:  A-to-Z  Title  Maker:  30  Figurettes  In 
Color;  10  sheets  of  8"xl0"  clear,  washable.  Acetate 
Film;  6  Jars  of  special  Colors  (Red.  Tell-w.  Blue, 
Green.  Black.  Whit*)  10  Photographic  S'llO"  Back- 
grounds: Title  Frame  C'lO')  area:  Tracing  Paper; 
Brush;  Simple  Instructions,  etc. 

FREE — Sample  Title  Kit— W'ite  T"daT 
At  your  Dealer  or  send  $6.50  direct  to 

A-to-Z  MOVIE  ACCESSORIES 

175  FIFTH  AVE..     Dept.  H36.     NEW  YORK  CITY 


what  proportion  is  in  the  dark,  and  aver- 
age the  reading  accordingly.  Of  course 
it  is  not  possible  to  move  up  close  to  the 
distant  hills  to  gain  a  reading  of  them, 
but  one  can  take  a  reading  of  an  ob- 
ject close  at  hand  of  similar  density  such 
as  a  bush,  the  ground,  or  a  tree,  which 
will  give  the  desired  result. 

In  taking  a  reading  of  people  with 
an  electric  exposure  meter,  the  best 
method  is  to  hold  the  meter  close  to  sub- 
ject's face  for  it  is  the  facial  features 
that  is  desired  to  photograph  in  true 
detail. 

An  electric  exposure  meter  is,  of 


course,  the  one  dependable  instrument 
for  calculating  exposures — even  though 
it  may  not  be  cure-all  for  exposure 
troubles.  The  "intuitive"  method  and 
that  employing  use  of  an  extinction  ex- 
posure meter  as  well  as  the  practice  of 
following  the  built-in  exposure  guides 
on  cine  cameras,  are  all  good  and  give 
good  results  under  average  light  condi- 
tions. But  when  the  movie  amateur  ad- 
vances to  critical  filming  under  adverse 
light  conditions,  in  shade,  and  indoors, 
then  the  electric  exposure  meter  with  its 
greater  range  of  light  readings,  becomes 
the  most  dependable. 


Qovernntent  want  A 
^oreig^n  ^ilmi  in  color 


Recognizing  the  wide  distribution  of 
HOME  MOVIES  in  the  amateur  cine 
field,  the  War  Department  has  asked  us 
to  publish  a  request  in  connection  with 
their  survey  of  i6mm.  Kodachrome  films 
made  in  foreign  countries  by  amateurs  in 
recent  years. 

A  facsimle  of  the  Department's  request 
appears  below  and  every  reader  is  urgent- 


ly requested  to  read  it.  There  can  be 
much  of  value  to  the  War  Department  in 
some  of  these  films,  and  it  is  an  urgent 
patriotic  duty  of  those  possessing  such 
films  to  offer  their  use  to  the  government. 

Note  especially  the  War  Department 
asks  that  films  not  be  sent  to  them — 
merely  a  complete  description  supplied 
of  those  films  that  can  be  made  available. 


CMICF  Of  ENGINtn^  U  S  AffMY 


WAR  DEPARTMENT 

omcc  or  tme  chief  of  engineers 


Itarch  3,  194E 


,  CE  000.7  (Motion  Pictures)  -SP 


Hone  ^Ties 

5060  Sunset  Blvd.. 

Hollywood,  Callf> 

Attention I  Editor 

Dear  Siri 

We  should  lilce  to  ask  your  cooperation  in  helping  us  de- 
liTer  a  ceesage  to  anateur  photographers  *ic  have  13  rri  'ixcia«hrc=.e 
filns  of  foreign  countries.    If  you  can  insert  a  news  iten  containing 
essentially  the  following  facts  we  should  Ter>'  nuch  appreciate  iti 

u.  s.  r:r3iM:E?-S  iktesested  ik 

AMATSL'R  CCLC?-  FILKS 

An  opportunity  is  offered  to  all  aaateur  and 
professional  cinezatcgraphers  to  participate  in  the 
national  defense  effort  by  the  Corps  of  ^-ngineers. 
Cinomato^raphers,  who  have  on  hand  air.*  of  their  own, 
original  16  ee  KodachTCTie  filits  photographed  outside 
the  territorial  li^ts  of  the  united  States,  are  urged 
to  list  their  reels  with  the  Sngineer  Board  iimediately. 

DO  :icr  sg'D  ?IL1.'.S  until  requested.  Full  infor- 
mation as  tc  tne  length  cf  films,  country  in  which  photo- 
graphed, etc.  is  desired  at  this  time. 

A  statement  peniitting  the  duplication  of 
selected  scenes  should  be  included.    Filsis  will  be 
carefully  handled  and. not  injured  in  any  way  if  loaned 
for  duplication. 

Address  all  letters  xc  the  *-otion  Pictxire  Section, 
"he  Sngineer  Board,  rort  5elvcir,  Virginia. 


Your  cooperation  is  greatly  appreciated. 
For  the  Chief  of  Engineers i 


Captain, l/Ccrps  of  Engineers, 

Public  Helaricna  Officer. 


HOME  MOVIES  FOR  APRIL 


PACE  161 


the  month  .  .  . 

•  CoiitiuHcd  from  Page  14S 

lighting,  shots  that  would  do  justice 
if  not  definitely  enhance  many  western 
movies  seen  today. 

Coming  upon  a  particular  spot  on  the 
ranch  the  trio  stops  as  Rita  points  out 
the  boundaries  of  the  ranch  to  the  visi- 
tor. Here  Rita's  sombrero  falls  to  the 
ground,  and  Mr.  Brandon,  the  visitor, 
chivalrously  dismounts  to  retrieve  it  for 
her.  In  picking  up  the  sombrero  he  ob- 
serves the  ground  is  oil-soaked — pre- 
sumes the  land  to  be  oil  bearing. 

Steve,  a  neighboring  rancher,  watches 
the  trio  from  a  distant  knoll,  perceives 
Brandon's  interest  in  soil.  So  when  Rita, 
Buck  and  Brandon  move  on,  Steve 
comes  over  and  inspects  the  patch  of  oily 
ground.  Hurrying  away,  he  returns  to 
his  mountain  cabin  and  to  Maria  and  Go- 
mez— two  questionable  inhabitants  of 
his  secluded  hacienda.  He  relates  what 
he  has  just  seen  and  plots  to  buy  the  land 
ahead  of  Brandon. 

Just  as  Rita,  Buck  and  Brandon  re- 
turn from  their  tour  of  inspection,  Steve 
puts  in  appearance  and  at  once  offers  to 
buy  the  ranch,  adding:  ".  .  .  and  I'd  like 
to  take  you  with  it."  Buck,  the  hired 
hand,  apparently  in  love  with  Rita,  re- 
sents Steve's  flirtation  and  a  fight  is 
about  to  start  between  the  two  men 
when  Rita  intervenes.  Brandon,  how- 
ever, out-bids  Steve  for  the  property  and 
sets  off  to  town  for  the  cash. 

Steve  returns  to  his  cabin,  and  orders 
Gomez  to  follow  and  capture  Brandon 
before  he  can  reach  town.  Gomez  in- 
tercepts Brandon  in  a  narrow  pass  and 
brings  him  off  his  horse  with  a  quick 
throw  of  his  lasso.  Brandon's  horse  es- 
capes. 

When  the  riderless  horse  returns  to 
Rocky  Ranch,  Rita  senses  trouble,  sends 
Buck  off  to  investigate.  Rita,  hurriedly 
saddles  her  horse  and  follows.  Mean- 
time, Gomez  brings  Brandon  to  Steve 
who  trusses  him  up  to  a  tree.  Gomez  is 
ordered  to  be  on  the  lookout  for  anyone 
who  may  approach  in  search  of  their 
prisoner,  and  while  standing  guard  on 
a  rocky  point  near  the  cabin,  is  chal- 
lenged by  Buck  and  a  gun  fight  ensues. 
Buck  eludes  Gomez  and  reaches  the 
cabin,  finding  only  Maria  there.  Mean- 
time, Rita  has  left  her  horse  and  is  cau- 
tiously following  the  trail  taken  by 
Buck.  Presently  Buck  is  surprised  by 
Steve  as  he  comes  around  corner  of  the 
cabin  and  a  fight  ensues,  the  two  punch- 
ing it  out  in  true  western  (movie)  style. 

During  these  climactic  moments, 
things  develop  rapidly.  Brandon  frees 
himself  of  his  bonds;  Rita  appears  on 
the  scene;  all  become  engaged  in  hand 


TITLIXG  IS  REAL  FUN 
with  a  "MASTER  TITLEER" 


$9.75 
TITLEER 

$5.50 
LIGHT  UNIT 

$5.50 

PROFESSIONAL 
ATTACHMENT 


THESE  FEATURES  MEAN  FUN  FOR 
YOUR  HOBBY! 

Title  cards  may  also  be  photographed  at  4".  6".  8" 
and   12"  distance.    Zoom  titles  and  superimposed 
titles  are  easily  made  on  the  Titleer.  Accurate 
alignment  is  assured  with  a  custom  made  camera 
base  for  your  particular  camera.    Bases  are  inter- 
changeable.   AM  parts  are  adjustble  on  the  Titleer 
base,  for  table  top  and  ultra  close-up  photography. 
Titleer  may  be  used  on  any  tripod  or  suspended  in  a  vertical 
position.   The  lighting  assembly  is  easily  removed  or  placed 
at  any  position  on  the  Titleer  base.    Camera  bases  to  fit 
popular  cameras. 

SEE  AT  YOUR  CAMERA  STORE  OR  ORDER 


HOLLYWOOD  CINE 

3221  so.  FIGUEROA  ST. 


PRODUCTS  CO. 

LOS  ANGELES,  CALIF. 


"-NEW- 


8 


m 


HOLLYWOOD 
FILM 


Available  for  the  first  time,  a  high  grade,  low  priced  8mm,  reversal  film  at 
pre-war  prices.    Price  includes  guaranteed  machine  processing,  slitting  of 
film  and  postage  for  return  on  50  ft.  8mm.  projection  reel. 


Ambertint  Weston  8  $1.25 

A  practical  every-day  film  for  out- 
doors. Finegrain,  semi-ortho,  wide 
latitude.  Tinted  base  makes  it  ex- 
cellent for  titles  in  your  Koda- 
chrome  films. 

Outdoor  Weston  8  $1.25 

Excellent  outdoor  film  with  enough 
speed  for  almost  all  conditions. 
Finegrain,  semi-ortho,  wide  lati- 
tude. Makes  topnotch  black  and 
white  titles. 


Hi-Speed  Panchromatic 

Weston  40-32  $1.95 

A  fast  film  emulsion  splendid  for 
indoor  movies,  night  street  scenes 
and  outdoor  filming  under  adverse 
light  conditions.  Full  non-halation 
base  prevents  all  flares  and  halos. 

Hi-Speed  Pan  (Red  Label) 

Weston  80-32  $2.00 

Super  speed  emulsion  fully  pro- 
tected by  non-halation  backing. 
Recommended  for  indoors  and  ad- 
verse light  conditions.  Makes  f3.5 
lens  equivalent  to  f  1 .9.  Not  in- 
tended for  sunlight  filming. 


r  Introductory  Offer 


Until  May   1 5th  to  introduce  five  thousand  new  customers  to 
Hollywood  film  we  will  accept  orders  of  one  roll  Ambertint  8mm. 
plus  one  roll  Outdoor  8mm.,  both  for  $2.00 

Accompany  your  order  with  this  ad  or  a  reasonable  facsimile. 


HOLLYWOODLAND 

9320  California  Avenue 


STUDIOS 

South  Gate,  California 


f>ACE  162 


HOME  MOVIES  FOR  APRIL 


Send  for  L—  ^  JT  »  m 

Supplemental  /  I 

Price  List  of  my  ' 
Cine  Bargaingram 

Lists  hundreds  of  attractive  items: 
new  prices  on  Movie  Cameras, 
Lenses,  Projectors,  Sound  equip- 
ment. Photo  Electric  Cells,  Turn- 
tables, Projection  Bulbs,  etc.  Every 
movie  fan  should  have  this  import- 
ant document. 
^  Write  Dept.  HM 

DEVELOP  ;^MOVlTs 

Send  for  one  of  these  low  cost  sets  and  develop  your 
own  movies!  Consists  of  ilevelopijig  tray,  safelite,  and 
set  of  prepared  developing  powders.  Simple  step-by- 
step  instructions  insure  good  results  first  time.  Or- 
ders sliippcd  promptly.  Send  your  order  today. 
SIMPLIFIED  DEVELOPING  OUTFITS  including 
our  Prepared  Clieniicals.  For  3ri  ft.  Single  8.  $4.20; 
Dbl.  8  &  16,  $5.95.  Instructions  furnislied  Free. 
Powders  only:  Vz  IJal.  Set.  $1.30;  One  Gal.  Set,  $1.95. 

16K  GENERA  MOVETONE  8^ 

Load  Your  Own  Spools  and  Save  Money 

A  FINE  GRAIN  REVERSIBLE  OUTDOOR  Non-Halo 
Film.  For  use  in  Cine  Kodaks.  Victor.  Keystone.  Re- 
vere,   rnivex.    Etc.    Developing    instructions  FREE. 

100  ft.  double  8,  scored,  laboratory  packing  $1.95 

100  ft.  straight  8  for  Univex  and  Keystone  $1.10 

400  ft.  double  8  mm.  laboratory  packing  $5.95 

400  ft.  16  mm  in  400-foot  reel  container  $4.95 

Write  for  Big  Bargain  Circulars,  our  processing  prices 

Fromader  Genera   Co.,   Davenport,  la. 


MACK 

Wide  Angle 
LENS 

for  8mm.  Cameras! 

DOUBLES  Width  of 
Field  Covered! 
Screws   in    FRONT   of   Regular  Lens 
Precise  Focusing  From  2  Ft.  to  infinity! 

Ideally  suited  to  color  or  black-and-white. 
Models  are  available  for  most  all  regular 
8mm.  movie  camera  lenses.  LIST  tfnn 
PRICE,  including  excise  tax  922.00 

MACK    OPTICAL  CO. 

ENCINITAS  CALIFORNIA 


8MM.  AND   I6MM.  PRINTS  OF 

"LATITUDE  26" 

JANUARY  MOVIE  OF  THE  MONTH! 

First   offering   of   outstanding    amateur-produced  screen 
hits.  Others  to  follow. 
ORDER  NOW! 

200  ft.  8mm.,  $5      400  ft.  16mm.,  $9.75 
HOLLYWOODLAND  STUDIOS 


SOUTHGATE 


CALIFORNIA 


PB  MOVIE  KIT  for  COLORFILM 

$4.75  COMPLETE 

1  PB  Lens  Shade  and  Filter  Holder. 
1  PB  Haze  Filter  (for  Kodachrome). 
1  PB  Conversion  Filter   (for  converting  Type  A  to 

daylight). 
]  PB  Filter  Pouch. 

For  All  Standard  Makes  of  8mm's 
PONDER  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles,  Calif. 


100J   rENN$TLVANIA  AVI.   N.W.,  WASHINGTON,   D.  C. 


to  hand  fighting;  then,  after  Steve  de- 
livers a  knockout  blow  to  Buck,  he  re- 
veals to  Brandon  that  he  is  not  the  real 
bad  man  of  the  plot  after  all,  is  really 
a  government  agent  sent  to  track  down 
Rita  and  Buck,  notorious  swindlers.  The 
oil-soaked  land,  you  see,  was  really  a 
"plant"  engineered  by  Rita  in  order  to 
speed  sale  of  the  property. 

The  story  ends  with  Steve  apologiz- 
ing to  Brandon  for  the  rough  treatment 
accorded  him,  and  with  Gomez,  per- 
plexed at  the  outcome  of  the  whole  af- 
fair, declaring:  "Caramba!  I  do  not  un- 
derstand! Villians  are  heroes  and  heroes 
are  villians.  The  West,  she's  no  longer 
a  place  for  a  good  bad  man!" 

Summarizing  briefly,  the  production 
was  excellently  planned  and  produced. 
The  story  by  Virginia  Cooke,  who  also 
plays  the  part  of  Rita,  is  a  commendable 
effort.  Photography  is  a  work  of  art. 
And  editing  and  titling  is  as  near  pro- 
fessional as  would  be  possible  to  do  it. 
Acting  on  the  part  of  the  entire  cast  is 
magnificent  and,  except  for  the  ab- 
sence of  sound,  it  is  not  difficult  to  im- 
agine that  one  is  viewing  a  Hollywood 
western  drama. 

The  photography  was  marked  by  fine 
use  of  iris-fades,  compelling  camera  an- 
gles, and  use  of  filters.  Panchromatic 
film  was  used  throughout  and  no  in- 
terior scenes  were  employed.  Sunlight 
reflectors  were  judiciously  used  in  all 
closeups  and  many  medium  shots.  There 
are  some  highlights  in  the  cutting,  too, 
especially  in  treating  the  action  where 
Gomez  lassoes  Brandon.  On  the  screen 


we  see  Brandon  approaching,  then  Go- 
mez swinging  his  lariat  and  tossing  it 
towards  Brandon;  and  finally  —  from 
another  camera  angle — Brandon,  lasso 
bound,  falling  as  from  his  horse.  This 
cutting  saved  Brandon  the  painful  task 
of  having  to  be  actually  pulled  from  his 
horse,  and  stepped  up  tempo  of  the  story 
at  this  point  through  the  rapid  succes- 
sion of  quick,  short  cuts  of  the  action 
from  various  camera  angles. 

"We  made  this  picture  in  black  and 
white,"  said  producer  Ray,  "Mainly  to 
hold  down  costs.  After  all,  the  studios 
still  make  90' r  of  their  pictures  in  black 
and  white,  so  why  can't  we! 

"Eastman  Super-X  was  used  through- 
out. Our  camera  was  an  8  mm  Seimens 
model  C-8  with  only  one  lens.  Filters 
used  were  Ki-yellow,  G-orange,  A-light 
red,  and  an  N3-green,  although  we  used 
the  A  almost  exclusively. 

"Our  chief  locations  were  30  miles 
apart.  This  was  necessary  because  no 
horses  were  available  where  the  rock  and 
cabin  sequences  were  shot,  and  we, 
therefore,  had  to  shoot  the  action  scenes 
with  the  horses  at  locations  nearer  the 
source  of  equine  supply. 

"Actual  shooting  time  consisted  of 
six  Sundays,  but  those  were  scattered 
over  a  period  of  three  months  due  to 
weather  conditions.  We  always  took  pic- 
nic lunches  along  with  us,  so  all  in  all, 
we  had  a  swell  time  and  a  lot  of  laughs 
in  making  this  'epic'!" 

And  we  think  Roland  Ray  definitely 
accomplished  what  he  set  out  to  do — 
prove  that  it  is  possible  to  make  8  mm. 
movies  the  equal  of  16  mm.  in  screening 
quality. 


Ca^^  to  build  tliU  titter 


•  Continued  from  Page  146 

figure  remains  the  same  for  all  subse- 
quent title  making.  Another  advantage, 
and  an  important  one,  is  that  since  the 
titler  is  extremely  rigid,  the  title  area 
or  field  remains  unchanged,  always  cen- 
tered accurately  with  the  camera. 

There  is  nothing  difficult  about  the 
construction  of  this  titler.  Properly,  it 
should  be  termed  a  titler  support,  for 
the  foundation  of  it  is  a  typewriter  ti- 
tler, altered  as  already  described.  Nor  is 
it  designed  chiefly  for  the  Cine  Kodak 
Titler.  Any  make  of  small  titler  may  be 
used  as  long  as  it  provides  a  substantial 
holder  for  the  auxiliary  lens  and  pro- 
viding, also,  that  the  "B  to  C"  cutaway 
section  is  mounted  so  proper  distance  is 
allowed  between  points  "A"  and  "B," 
as  shown  in  Fig.  3. 

■  After  cutting  the  titler  in  two,  the 
end  section  to  which  the  title  card  hold- 
er is  attached,  may  be  discarded — but 
not  before  its  length  has  been  carefully 
measured,  for  unless  this  measurement  is 


retained  (that  from  A  to  B,  Fig.  3)  you 
may  not  succeed  in  placing  the  section 
B  to  C  (Fig.  3)  at  the  proper  distance 
from  the  base  to  insure  sharp  focus. 

Since  all  small  metal  titlers  will  vary 
as  to  exact  dimensions,  it  is  not  practical 
to  list  them  here,  but  from  the  pictures 
and  diagrams  accompanying  this  article 
it  should  not  be  difficult  for  any  movie 
amateur  to  construct  the  base  and  sup- 
port correctly.  These  are  both  made  of 
Y4  inch  5 -ply  wood.  TTie  base  should  be 
about  i8"x2o",  depending  on  the  size  of 
the  metal  titler.  The  upright  board, 
made  of  the  same  material,  should  be 
as  long  as  the  original  titler  before  it 
was  cut  in  two.  This  will  be  somewhere 
near  1 5  inches.  As  shown  by  the  picture 
it  should  be  as  wide  as  the  base. 

Every  amateur  who  has  tried  title 
making  knows  the  importance  of  a  firm 
camera  support  and  title  board.  For  this 
reason,  the  upright  support  is  fastened 
very  firmly  onto  the  base.  In  this  titler 


HOME  MOVIES  FOR  APRIL 


PAGE  163 


large  screws  were  used,  running  from 
the  underside  of  the  baseboard  into  the 
upright.  In  addition  to  this  two  heavy 
metal  shelf  brackets  were  attached  to 
the  back  of  the  upright  as  shown  in 
Fig.  2,  which  insures  a  sturdy,  unwav- 
ering support  for  the  heaviest  of  cine 
cameras. 

To  facilitate  handling  copy,  etc.,  for 
trick  or  animated  titles,  a  "U"  shaped 
opening  should  be  cut  in  the  upright 
support  as  shown  in  Fig.  3.  Another 
opening  cut  at  left  of  the  camera  will 
make  it  easier  to  crank  or  wind  the 
camera  spring. 

In  attaching  the  "B  to  C"  section  of 
the  titler  to  the  upright,  it  should  be 
so  placed  that  lens  of  camera  will  be  ex- 
actly in  center  of  the  unit.  Be  doubly 
carefully  in  setting  titler  for  final 
mounting  to  make  sure  the  distance  A 
to  B  will  be  exactly  the  same  as  when 
the  original  titler  was  in  one  piece.  In 
other  words,  distance  from  the  auxiliary 
lens  to  title  card  must  be  the  same  as 
it  was  in  the  original  typewriter  titler. 

With  this  improved  arrangement,  the 
title  cards  lie  flat  upon  the  wooden  base, 
covered  with  a  panel  of  plate  glass,  as 
shown  in  the  photo.  This  glass,  approx- 
imately 8"  square  should  have  two  holes 
drilled  in  it  approximately  5  16"  in 
diameter  so  that  it  will  fit  snugly  over 
the  two  wooden  pegs  provided  in  the 
base.  The  pegs  may  be  made  from  wood 
dowel  and  rounded  at  the  ends. 

The  next  step  is  mounting  the  lights. 


Two  sockets,  with  fittings  for  metal 
parabola  reflectors,  should  be  mounted 
at  a  distance  of  7  inches  above  the  base- 
board and  1 5  Yz  inches  apart.  In  this 
position,  bulbs  will  be  about  9  '4  inches 
from  the  title  card,  permitting  shooting 
titles  at  an  exposure  of  approximately 
f  6.3  with  Kodachrome  or  Positive  film. 
Parabola  reflectors  such  as  those  obtain- 
able for  small  "gooseneck"  desk  lamps 
will  accommodate  No.  i  photofloods  and 
are  satisfactory  for  use  with  this  titler. 

Fig.  4  shows  wiring  diagram  for  the 
lights  which  provides,  incidentally,  for 
a  two-way  switching  arrangement  — 
first,  the  regular  on  and  off  switch,  and 
second,  a  series-parallel  switch  which 
feeds  but  half  the  current  to  the  lamps 
allowing  for  pre-heating  before  use  as 
well  as  dimming  them  when  not  actual- 
ly shooting.  This  serves  to  prolong  life 
of  the  photofloods. 

When  completed,  the  field  or  title 
area  must  be  determined  and  permanent- 
ly marked  on  the  baseboard.  To  do  this, 
place  a  sheet  of  newspaper  over  the  base- 
board covering  a  wide  area.  With  the 
camera  and  auxiliary  lens  in  place,  ex- 
pose a  few  frames.  Do  not  remove  the 
paper  but  develop  the  film.  When  devel- 
oped the  exact  portion  of  the  newspa- 
per photographed  can  be  noted  with  a 
pencil. 

With  the  "glorified"  titler  thus  com- 
pleted, the  amateur  may  proceed  with 
title  making  with  full  assurance  that  all 
his  titles  will  be  un'form  in  exposure 
and  accurately  centered. 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  'The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1941 

MAY:  "A  Pal  n  in  the  Night,"  pro- 
luced  by  Rev.  Raymond  C.  Heisel,  El- 
mira,  N.Y.  An  8mm  Kodachrome  picture 
1  25  feet  in  length. 

JUNE:  "Tropical  Ecstasy,"  produced 
by  Dr.  Roy  L.  Cerstenkorn,  Beverly  Hills, 
Calif.  A  16mm  Kodachrome  production, 
350  feet  in  length. 

JULY:  "Within  These  Hills,"  pro- 
duced by  J.  Glenn  Mitchell,  Joplin,  fvlis- 
souri.  A  16mm  Kodachrome  picture, 
800  feet  in  length,  with  sound  on  disc 
recording. 

AUGUST:  "Dedication,"  produced  by 
Alex  W.  Morgan,  Toledo,  Ohio.  An  8mm 


Kodachrome  picture,  400  feet  in  length. 

SCPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland.  Ohio.  A  16mm  Kodachrome 
picture,  400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  j.  0.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Geurts,  Salt  Lake  City,  Utah.  A 
I  6mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch,"  pro- 
duced by  Roland  Ray,  Los  Angeles, 
Calif.  An  8mm.  picture,  400  feet  in 
length. 


American  Cinematographer 

Hand  Book  and  Reference  Guide 

The  New  Edition 
Right  Off  the  Press 

THE  GREATEST  HAND  BOOK  OF  ITS 
KIND  EVER  PUBLISHED 

Movies  or  Still 
Professional  or  Amafeiir 

Charfs  and  tables  for  35mm,  16mm  and 
8mm  sound  and  silent  cameras  and 
projectors,  miniature  cameras,  cine  film, 
filters,  lenses,  make-up,  screen  sizes, 
exposure  meters,  photoflood,  photo- 
flash,  and  infra-red  blackout  lamps, 
timers,  calculators,  equalizers,  etc.,  in 
fact  it's  just  jammed  full  of  the  right 
kind  of  information.  250  pages  of 
essential  material  for  every  camera  user. 
Pocket  size. 

PRICE  $3.50 

At  your  photographic  dealer  or 
Postpaid  to  any  address. 

Send  for  descriptive  circular 

American  Cinematographer 

Hand  Book  and  Reference  Guide 

1165  N.  Berendo  St.,  Hollywood,  Calif. 


"HE  SURE  DOES 
WASTE  FILM.  HOW 
DOES  HE  EXPECT 
ME  TO  SEE  IN  THIS 
BLANKETY-  BLANK 
GL^RE  LIGHT?  I 
WISH  HE'D  GET 
WISE  AND  BUY  A- 


MARKS 

POLARIZATION 

PLATE 


Don't  laugh!  You  may  be  doing  the  same  thing. 
Have  you  ever  taken  pictures  you  thought  were 
perfect  —  but  weren't?  Did  you  blame  film  or 
camera?  You  shouldn't!  Because  your  trouble 
was  obscured  vision,  destroyed  detail  and  diluted 
color  caused  by  the  photographic  evil— "glare 
light".  You  didn't  stand  a  chance  to  shoot  a 
good  picture.  But  —  you  can  with  MARKS 
POLARIZATION  PLATES  -  the 
on/y  method  to  light  control 
without  color  absorption.  Don't 
waste  another  shot.  Go  to  your 
dealer  or  write  for  comprehen- 
sive folder. 


Glare  Light 
Controlled 


Kl  N-O-LUX.  INC. 

105  W.  40  ST. .  NEW  YORK  CITY 


PACE  164 


HOME  MOVIES  FOR  APRIL 


ri^-rr^i^^  FOR  PRINTS,  REELS, 
^ifJ/iAiiVJ  NEGATIVES, SLIDES 


No  more  scratched,  curled  or  dirty 
films  or  prints — and  they're  easy 
to  file  and  find.  Look  like  books 
(8'  8  It  7").  Blue,  green,  red  or  black. 
SLIDE  FILE  holds  300  slides 

2x2"  $1.00 

NEGATIVE  FILES.  3  styles.  35 
mm  (strips  or  rolls)  to  5x7"  $1.00 
PRINT  ALBUM.  Loose  leaf  5 x 7". 
Acetate  covered  mounts..  .  $1,75 

.4/50  larger  sizes. 
MOVIE  REEL  FILES  Sand 

16  mm  $1.50  and  $1.95 

At  stores  or  sent  direct  prepaid 
on  JO  Days  Money-Back  Trial. 
Write  for  folder  showing  complete  line 


Kankakee,  Illinois 


J^eview^  o/  S-Atar  moviei  .  .  . 


BETTER 
BULK 
FILMS 


CORONA 


SAME  PRICE  FOR  I6MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED    100  Ft.    400  Ft. 

CORONA-PAN    24-16       $3.15  $11.60 

ORTHOCHROMATIC    ....  12-  4         1.75  6.00 

SEMI-ORTHO    12-  4         1.30  4.25 

MACHINE  REVERSAL  P ROCESSI N G— Double  8 
or  16mm— 100  ft.,  85c:  50  ft..  63c;  25  ft..  50c. 
Special  Delivery  Service  on  All  $5.00  Orders 

AM  Orders  Shipped  Postpaid  Except  C.O.D. 
FREE  BOOKLET  on  home  processing  instructions, 
plans  and  formulae  with  orders. 
Single  copies.  15c 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AVE.      BROOKLYN,  N.  Y. 


Make  Good  Films  Better 
With 

PARK  CINE  TITLES 

Crisp  Artistic!  Economical! 
Give  meaning  to  your  films. 

Send  for  Latest  Catalog 

Park  Cine  Laboratory 

120  West  41  St  Sf.       New  York  City 


Tiuret  and  backwind  installations  on  8  and  I6mm. 
Lenses,  Binoculars  repaired.   Focusing  mounts. 

MACVAN  MFC.  CO. 

3829  El  Cajon  Blvd.  San  Diego,  Calif. 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  16mm)  you  simply  camiot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo  Bar- 
gain Book  now  being  distributed  throughout  the  U.  S. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading  manufacturers,  describes  them.  The  prices 
save  you  money  in  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
titlers,  editing  outfits,  tripods,  books  on  editing, 
titling,  etc.  This  Bargain  Book  is  invaluable  to  you  as 
an  equipment  REFEREN'CE  book.  I>on't  wait  a  day 
longer  to  send   for  your  Free  copy.   Write  ub  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dep.  D-9  Chicago.  Illinois 


Get    Better    SPLICES   with    the    new  SEEMANN! 

^  New  improved  design 

— made  of  heavy  gauge 
plated  metal,  mounted 
on  hardwood  base.  An- 
chored cement  bottle. 
Accurate  .  .  Efficient! 
For  8  or  16mm. 
At   All  Dealers! 

WHOLESALE    PHOTO    SUPPLY  CO. 
77266  Beverly  Blvd.     Dept.  HM-4     Hollywood.  Calif. 


•  Continued  from  Page  14^ 

less  the  subject  is  live  with  movement, 
a  static  pictorial  shot  should  be  cut  dras- 
tically if  the  film  is  to  "click"  with  aud- 
iences who  by  now  are  quite  accustomed 
to  color. 

Titling:  Enlisting  the  cooperation  of 
an  artist,  this  filmer  brought  to  his  pic- 
ture a  set  of  tastefully  designed  titles. 
All  were  double  exposed  on  colored  stills 
and  were  uniformly  excellent,  except 
that  occasionally  the  white  lettering  ap- 
peared over  a  light  part  of  the  back- 
ground and  was  difficult  to  read.  Per- 
haps dark  lettering  would  have  created 
the  same  problem. 

Remarks:  By  a  little  more  attention 
to  continuity  and  by  including  persons 
in  some  sort  of  activity  in  most  of  the 
scenic  shots,  this  filmer  would  have  pro- 
duced a  film  of  "movie-of-the-month" 
caliber. 


"Snow  White  and  Rose  Red" 
400  Ft.  1 6mm.  Koda. 


★★* 

By  R.F. 

Continuity:  An  older  girl  is  reading  a 
fairy  story  to  a  group  of  smaller  young- 
sters. Soon  the  picture  launches  into  a 
scene  in  front  of  a  story  playhouse  with 
the  reader  as  mother  and  two  Httle  girls 
as  Snow  White  and  Rose  Red  sweeping 
the  walk  and  washing  the  windows. 
Darkness  falls  and  the  little  family  goes 
inside  to  prepare  supper.  In  a  kettle  over 
the  fireplace  a  stew  is  cooking.  A  bear 
that  walks  and  acts  like  a  man  appears 
at  the  front  door  and  knocks.  Mother 
opens  the  door  and  the  bear  rushes  inside 
to  warm  himself.  The  mother  and  girls 
are  frightened  but  gradually  make  friends 
with  the  animal,  and  give  him  a  jar  of 
honey.  The  next  day  the  two  girls  are 
out  walking  and  find  a  dwarf  caught  by 
his  long  white  beard  in  a  split  log.  The 
dwarf's  little  satellites  scurry  into  hid- 
ing when  the  girls  appear.  The  dwarf, 
rescued  from  his  predicament  by  one  of 
the  girls,  is  ungrateful  and  berates  them 
for  shortening  his  beard. 

Another  day  finds  the  same  little 
dwarf  and  his  lesser  companions  fishing. 
Again  he  gets  his  beard  caught,  this  time 
in  the  fishing  line.  The  little  girls  again 
rescue  him  and  he  scurries  off.  Some 
time  later  the  girls  come  upon  the  dwarf 
in  the  woods  counting  his  gold  and 
jewels.  Angered  by  the  little  girls'  un- 
expected presence,  he  threatens  to  harm 
them.  But  the  friendly  bear  appears  just 
in  time  to  kill  the  dwarf  and  rescue  the 
little  girls.  Suddenly  the  bear  is  trans- 
formed to  a  handsome  youth  who  tells 
the  girls  he  is  really  the  prince's  son, 
and  that  he  was  bewitched  and  robbed 
by  the  dwarf  and  then  transformed  into 
a  bear.  The  death  of  the  bad  dwarf,  of 


course,  ended  his  magic  spell  over  the 
youth  and  enabled  him  to  return  to  his 
original  being. 

Editing:  Almost  without  exception, 
scenes  are  too  long  for  the  average  au- 
dience unfamiliar  with  the  actors.  Open- 
ing sequence  of  children  listening  to 
story  should  be  broken  up  and  used  as 
flashbacks  in  the  main  body  of  the  pic- 
ture. A  title,  "Once  Upon  a  Time" 
should  be  moved  up  to  be  shown  imme- 
diately after  the  group  is  discovered 
hearing  the  story.  Beard  cutting  scenes 
could  be  shortened  by  two-thirds  for 
vast  improvement,  as  could  other  shots 
in  the  story  sequence.  A  general  over- 
all shortening  by  about  a  third  is  sug- 
gested. 

Titling:  After  a  professionally  let- 
tered opening  title,  nearly  all  subtitles 
were  handled  as  excerpts  from  the  fairy 
books,  a  single  line  standing  out  bril- 
liantly from  the  main  body  of  printing 
by  means  of  masked  lighting.  The  filmer 
erroneously  assumed  his  audience  would 
be  familiar  with  the  old  story,  a  mistake 
that  could  easily  be  corrected  by  telling 
a  little  more  of  the  plot  at  the  begin- 
ning by  means  of  additional  subtitles. 

Photography:  While  exposure,  com- 
position and  variety  of  camera  view- 
point marked  this  for  an  exceptional 
picture,  it  is  nevertheless  unusual  to 
see  an  amateur  filmer  who  does  not  make 
use  of  effects  such  as  fades  and  wipes. 
Fades  were  called  for  in  the  flashback 
scene  as  also  in  the  transition  from  story 
reading  scene  to  the  enactment  con- 
tinuity. 


•  All  amateurs,  whether  sub>scribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  stars  will 
receive,  free,  an  animated  leader  in- 
dicative of  such  award. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 

When  submitting  films  for  review 
or  analysis,  please  advise  make  of 
camera,  speed  of  lens,  whether  or 
not  tripod  was  used,  or  if  you  used 
filters,  exposure  meter,  or  other  ac- 
cessories. While  this  information  is 
not  essential  to  obtain  analysis  of 
your  film,  we  would  like  to  pass  it 
on  for  the  benefit  of  other  amateurs. 


HOME  MOVIES  FOR  APRIL 


PACE  165 


Remarks:  A  remarkable  enterprise, 
this  picture  suffered  by  inadequate  di- 
rection of  the  children  and  by  too-long 
scenes.  The  stilted  attitudes  of  the 
youngsters,  together  with  generally 
wooden  expression,  kept  this  production 
from  achieving  greater  distinction. 

"Home  Movies"  'k'k^ 
125  Ft.  B&W  8mm.  By  F.E. 

Continuity:  "Joe  Fumblebum"  is  seen 
opening  a  package,  which  contains  a 
new  movie  camera  and  projector,  birth- 
day gifts  from  an  uncle.  Joe  embraces 
his  little  son  Joe  in  anticipatory  delight 
for  the  fun  he  is  going  to  have.  Then 
follows  an  excellently  produced  mon- 
tage, a  frame  of  which  is  reproduced 
here.  Joe  is  in  the  center  with  his  cam- 
era in  action,  while  at  each  corner  of 
the  frame  is  depicted  some  of  the  phases 
of  cine  activity:  editing,  projecting,  etc. 
Next  follows  a  scene  showing  Joe  phon- 
ing his  friends,  inviting  them  to  a 
screening  of  his  movies. 

Next  sequence  fades  in  on  Saturday 
night,  with  Mrs.  Joe  carefully  groom- 
ing herself  for  the  party  and  Joe  busily 
engaged  in  editing  his  films.  To  the 
wifely  query  as  to  his  readiness  for  the 
movies,  Joe  replies  that  everything  is 
"well  in  hand,"  and  a  close-up  shows 
his  hands  involved  in  a  hopeless  tangle 
of  film.  The  doorbell  rings  and  the 
guests  arrive.  They  are  promptly  seated 
in  the  home  theater.  Joe  takes  his  place 
at  the  projector.  A  shot  over  guests' 
heads  to  the  screen  reveals  the  opening 
titles  of  the  movie-within-a-movie: 
"Vacation  Daze" — a  Joe  Fumblebum 
Production,  Entirely  Conceived  and  Ex- 
ecuted by  Joe  Fumblebum." 

The  scenes  that  follow  are  typical  of 
the  first  efforts  of  a  cine  amateur,  in- 
cluding the  ultra-fast  pan  shot,  the  pic- 
ture of  the  little  boy  almost  entirely  ob- 
scured by  another  person  in  the  fore- 
ground, and  the  shot  of  the  family  beach 
cottage,  which  is  nothing  mere  than  a 
blur.  Joey's  first  train  ride  is  introduced 
by  a  train  filmed  upside  down,  followed 
by  a  brief  sequence  of  pictures  taken 
from  a  train  window. 


As  these  amateur  efforts  unfold  on 
the  screen,  the  audience  is  shown  ex- 
pressing boredom  and  disinterest.  Two 
of  the  men  sneak  out  in  the  darkness 
and  are  next  seen  in  the  kitchen  drink- 
ing beer;  two  women  from  the  audience 
also  sneak  out  to  join  the  men. 

As  the  Fumblebum  production  ends, 
a  lone  spectator,  asleep,  is  discovered  by 
Joe.  Joe  awakens  him  with  a  yell  and 
the  fellow,  suddenly  aroused  begins  to 
applaud.  Joe  looks  for  his  film  on  the 
projector  and  finds  it  gone,  but  the 
leader  is  seen  disappearing  under  a  chair. 
On  the  other  side,  a  kitten  is  complete- 
ly entangled  in  the  film.  Joe  discovering 
this,  falls  in  a  faint. 

Photography:  With  the  exception  of 
the  "Vacation  Daze"  sequence,  all  the 
scenes  were  interiors.  All  were  uniform- 
ly well  exposed.  Particularly  effective 
were  the  scenes  in  the  darkened  room 
before  and  during  projection  of  the 
"movie-within-a-movie."  Slightly  un- 
derexposed, the  close-ups  of  faces  car- 
ried the  illusion  admirably.  This  film- 
er's  transition  from  a  shot  of  the  screen 
taken  from  the  back  of  the  room,  show- 
ing the  heads  of  the  spectators,  to  the 
actual  screening  of  the  "movie-within- 
a-movie"  was  smoothly  handled.  Tech- 
nique for  this  sequence  was  described  in 
September,  1941  issue  of  Home  Movies. 

Editing:  Excellently  done.  Story  car- 
ried along  with  deftness  and  variety. 
Filmer  used  subtle  approach  in  many  in- 
stances. To  indicate  the  end  of  the  show, 
the  white  leader  was  filmed  coming 
through  the  projector  on  the  take-up 
reel.  Several  intercut  shots  of  the  oper- 
af'n?  projector  carried  along  the  con- 
tinuity. 

Tifl-f!^:  Main  titles  were  perfectly 
entered  and  were  adequate  in  number 
to  explain  action.  When  Joe  was  tele- 
phoning to  his  friends,  his  spoken  re- 
marks were  carried  in  staggered  fashion 
cn  one  background,  with  the  telephone 
dial  in  the  center  of  the  frame.  Titles  of 
the  "movie-within-a-movie"  were  of  a 
crude  style  to  fit  the  amateurishness  of 
the  pictures. 


^a^k^  ^or  double  expoiurei  . . 


•  Continued  from  Page  14J 

such  a  way,  that  when  in  place  in  the 
mount,  the  edges  of  the  opening  will  be 
in  alignment  with  the  outside  lines  on 
the  glass  panel,  which  also  limit  the 
field  of  view. 

Probably  the  best  way  to  determine 
the  exact  dimensions  and  position  of  the 
opening  is  by  stretching  four  threads  be- 
tween each  corner  of  the  glass  screen 
and  the  "sight"  set  in  place  at  the  end 
of  the  hood  attached  to  Stage  A.  This 
should  be  clear  from  an  examination  of 


Fig.  2.  The  sides  of  the  brass  guide  are 
then  divided  into  equal  parts  corre- 
sponding to  the  divisions  on  the  glass 
screen. 

Thus  it  will  be  clear  that  any  two 
corresponding  lines,  squares  or  points 
on  the  screen  and  on  the  frame  will  be 
optically  in  line  with  the  "sight"  or 
camera  lens,  as  the  case  may  be. 

The  making  of  a  typical  mask  is 
shown  in  Fig.  i.  The  Frame  is  set  up  in 
the  required  position  and  the  scene  in- 


GOERZ 

KINO-HYPAR 
LENSES 

f:2.7  and  f:3 

For  regular  ind  color 
movies  of  surprising 
Quality  —  high  chro- 
matic correction   .   .  . 


Focal  lengths  15mm  to  lOOmm  —  can  be  fitted 
in  suitable  focusing  mounts  to  Amateur  and 
Professional  Movie  Cameras. 


COERZ     Reflex  FOCUSER 

—  Patented  — 
For  IBmm  Movie  Cameras  —  voids  PARALLAX 
between  finder  and  lens  —  provides  full-size 
ground-glass  image  magnified  10  times.  Adapt- 
able to  lenses  3"  and  up.  Also  useful  as  ex- 
tension tube  for  shorter  focus  lenses  for  close- 
ups.  Extensively  used  in  shooting  surgical  op- 
erations, small  animal  life.  etc. 


COERZ    Parallax-Free  FOCUSER 

and  FIELD  FINDER  CONTROL 

No  more  off-center  pictures,  for  Filmo  121  and 
Simplex-Pockette  magnifies  4  and  8x, 

For  Detailed  Information  Address 
Dept.  HlI-4 

C.  p.  Coerz  American  Optical  Co. 

317  East  34th  St.,  New  York 

AMERICAN  LENS  MAKERS  SINCE  1899 


COT  «  100 
1942 


GET  THIS  FREE  BOOK!  Every  Home 
Movie  Fan  Should  Have  It  .  .  .  Brand  New  .  .  . 
just  out!  Chuck  full  from  cover  to  cover  with 
the  choicest  bargains  you  ever  heard  of  .  .  . 
IncludiniT  ESSCO  double  8mm  and  16mm  HOME 
MOVIE  FILM  as  low  as  $1.00  per  Roll,  including 
Processing:. 

Also  Bulk  Film,  processing  rates,  etc.  Dozens  of 
daily  needed  items  and  accessories,  screens,  reels, 
titlers,  etc.,  including  BIG  NEW  LIST  of  166 
FILM  SUBJECTS,  glamour  films,  cartoons,  west- 
erns, historical,  adventure  and  sports  films  for 
8mm  and  16mm  projectors. 

SEND  FOR  THIS  FREE  BOOK  TODAY 
Keep   it   for   ready   reference.   Your   name  on 
a  postcard  brings  it  by  return  mail  FREE! 


<^44ca  ^d*n  P^ioduoU 

6117  S.Campbell  Av.BEKB  Chicago 


PACE  166 


HOME  MOVIES  FOR  APRIL 


ISew  Harrison  Duraline 
MOVIE  FILTERS  and  KITS 


New  SCREW-IN  TYPE  MOXJNTED  FILTERS  to  fit 
all  8ram.  cameras  having  Wollensak  1.9  and  3.5  lenses, 
including  Keystone,  Bell  &  Hiiwell.  Perfcx  and  Revere. 
Single  filters  list  at  $2.30  each.  Kits,  containing  two 
filters — Kodachrome  Haze  and  C-4  (for  use  with  type 
"A"  Kodachrome  in  daylight) — a  Snap-on  Shade  and 
Filter-fold  Case  as  above  list  at  $5.50. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
8351  Santa  Monica  Boulevard        Hollywood.  California 


CUT  HOME  MOVIE  COSTS 

with  BLACK  and  WHITE  fine 
grain   Semi-Orthochromatic  Re- 
versible Film  for  finest  results — 
lowest  cost. 

16mm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $1.98 

Rating  Scheiner  18 

8mm.  Reversible  Outdoor  Film 

25  ft.  Double  8,  only  98e 

Same  day  processing   included.  Ask  your  dealer  or 
send  money  direct. 

Write  for  prices  for  developing  and  processing  for 
8mm.  and  IGmm.  films  bought  elsewliere. 

VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  Broadway.  Dept.  12         Brooklyn.  N.  Y. 


I  F   IT'S  8MM. 

short  subject  films,  spooled  or 
bulk  raw  films,  accessories  or 
laboratory  services,  you  should 
have  the  1942  Eso-S  Catalog. 

Your  inquiry  will  receive  our 
prompt  attention;  catalog  will 
follow  by  return  mail.  Ask  about 
our  MONOCOLOR  films,  our  Type  B  b&w  film, 
and  speed  Type  E  film. 

OUR  GUARANTEE  TO  YOU:  If  for  any  reason  you  are 
not  pleased  with  our  service  or  products  you  may  demand 
your  money  back.  We  stand  behind  every  item  we  sell! 
More  than  your  money's  worth  .  .  .  always. 

ESO-S  PICTURES 

"Quality  Smm.  Serrice" 
3945  CENTRAL  STREET  KANSAS  CITY.  MO. 

16mm.  AMBERTINT 

100  feet  ....  $2.50 

(Weston  S) 

Guaranteed  machine  processing.  Finegrain.  wide  lati- 
tude. Plenty  of  speed  for  outdoor  filming  under  ordi- 
nary light.  Tinted  base  makes  It  excellent  for  the 
titling  of  Kodachrome  films. 

HOLLYWOODLAND  STUDIOS 

9320  California  Ave.  South  Gate.  Calif. 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BERNDT-MAURER  RECORDER 

GEO.  W.  COLBURN  LABORATORY 

llf)7-A  Merchandise  Mart  CHICAGO 


WINDBACKS 


FRAME- 
COUNTING 

Guaranteed    accurate.    Expertly  engineered 
and  installed.  Money-back  guarantee. 
Keystone  .  .  .  Sn.4.'>      •      Filmo  .  .  .  $23.50 
Eastman  .  .  .  S23..50 
Precision  Built  Accessories  for  Every  Need 
Write  Us  Your  Requirements 
CUSTOM  BUILT  CAMERA  ACCESSORIES  CO. 
5712  Cedar  Springs  •  Dallas,  Texas 


spected  by  viewing  it  from  the  "sight" 
with  the  glass  screen  in  position  in  the 
mount  on  Stage  B.  The  effect  will  be 
that  shown  in  the  drawing,  Fig.  i.  The 
effect  required  calls  for  masking  out  the 
window  and  it  will  be  noted  that  a  cut 
along  the  lines  X-Y  will  be  satisfactory. 
The  brass  cutting  guide  is  next  placed 
on  top  of  a  piece  of  thin  cardboard,  pre- 
viously cut  to  size  to  fit  the  mask 
mount.  By  means  of  a  steel  straight  edge 
and  sharp  safety  razor  blade,  the  mask 
is  cut  out  to  the  corresponding  divisions. 
Two  cards  will,  of  course,  be  required 
to  form  a  "positive"  and  a  "negative" 
pair  of  masks,  shown  as  A  and  B,  Fig.  i. 
The  glass  panel  is  removed  and  the  cam- 
era set  in  place  on  its  mount.  The  two 
exposures  may  then  be  made  with  the 
knowledge  that  the  masks  will  cover  the 
areas,  exactly  as  seen  by  direct  inspec- 
tion through  the  "sight"'  and  glass 
panel. 

This  is  typical  of  the  method  em- 
ployed for  cutting  any  form  of  "high 
diffusion"  masks,  for  mounting  on  Stage 

A.  When  the  more  clear  cut  type  of 
mask  is  required,  for  mounting  on  Stage 

B,  the  set  up  is  similar;  but  in  this  case, 
the  glass  panel  itself  may  be  used  as  the 
cutting  guide.  Furthermore,  the  need 
for  great  accuracy  is  less  and  any  small 
error  will  be  covered  by  the  slight  diffu- 
sion given  at  this  point. 

Before  describing  the  making  of  sev- 
eral varieties  of  trick  shots  with  this 
apparatus,  as  I  hope  to  do,  in  subsequent 
articles,  its  use  as  a  titler  for  special 
effects  is  worthy  of  consideration. 
Straight  forward  titles  may  be  made  by 
setting  up  the  Frame  on  end,  the  camera 
pointing  downwards  and  the  title  set  up 
on  top  of  Stage  B.  By  placing  Photofloods 
in  the  sockets  of  the  wander-lights  and 
plugging  them  into  the  dowel  holes  at 
any  convenient  position  on  the  legs  of 
the  Frame,  titling  may  be  carried  out  by 
artificial  light.  If  Photofloods  are  not 
available,  then  the  title  may  be  set  up 
on  Stage  C,  the  movable  stage  again  be- 
ing used  to  cover  the  opening,  and  suffi- 
cient illumination  will  be  obtained  from 
the  striplites  mounted  on  the  underside 
of  Stage  B,  provided  the  camera  is  run 
at  half  speed  and  a  fairly  fast  film  is 
used. 

A  variety  of  effects  may  be  obtained, 
the  scope  being  limited  only  by  the  in- 
genuity of  the  cameraman.  Dissolving 
titles,  for  example,  may  be  made  in  the 
following  way.  Having  run  off  a  length 
of  title  sufficient  for  reading,  stop  the 
camera  and  reduce  lens  opening,  so  that 
the  exposure  required  will  be,  say,  i6 
seconds.  Time  exposures  are  then  made 
on  successive  frames,  reducing  the  ex- 
posure by  one  second  each  time.  After 
the  last  exposure,  duration  of  which  was 
one  second,  the  film  is  wound  back  to 
the  last  frame  which  was  fully  exposed. 


In  this  case,  it  will  mean  a  backwind  of 
i6  frames.  The  next  frame  is  given  an 
exposure  of  one  second  on  the  new  title, 
the  next  two  seconds  and  so  forth,  in- 
creasing the  exposure  one  second  at  a 
time  until  the  full  exposure  of  i6  sec- 
onds is  reached.  It  will  be  clear  that 
each  frame  in  the  transition  has  now 
had  an  exposure  of  16  seconds  and  a  per- 
fect dissolve  will  have  been  obtained. 
The  balance  of  the  second  title  is  then 
run  off  to  complete  the  dissolve. 

If  now,  instead  of  having  a  stationary 
title  set  up  on  the  movable  stage  on  top 
of  Stage  B  or  C,  it  is  placed  on  Stage  B 
for  the  first  exposure,  lifted  two  inches 
and  supported  on  four  dowel  pins  in  the 
legs  for  the  next,  moved  up  again  for 
the  next,  and  so  on,  an  excellent  varia- 
tion is  produced.  The  second  title  is  first 
placed  in  the  top  position,  nearest  the 
camera  and  the  double  exposure  run  off 
as  before,  increasing  by  one  second  each 
time.  But  whereas  the  movable  stage  was 
lifted  between  each  exposure  in  the  first 
run,  the  second  title  is  dropped  two 
inches  on  the  dowel  pins  between  each 
exposure  on  the  second  run,  until  it 
rests  finally,  on  the  top  of  Stage  B  and 
the  remainder  is  run  off  "straight."  Not 
only  will  the  titles  dissolve,  but  they 
will  advance  and  recede  into  each  other 
at  the  same  time,  producing  an  effect 
which  will  give  professional  polish  to 
your  film,  as  it  introduces  itself  on  the 
screen. 

Another  variety  of  trick  effect  title  is 
one  I  saw  recently  which  was  produced 
on  this  same  effects  frame  we  are  dis- 
cussing here.  The  title  consisted  of  a 
white  background  carrying  the  word 
"CRISIS!"  in  block  letters  set  at  an 
angle.  The  foreground  consisted  of  a 
silhouette  of  cannon  and  guns  in  black 
with  the  figures  "1941"  superimposed 
in  white. 

The  block  letters  were  cut  of  ply- 
wood and  mounted  on  the  white  back- 
ground on  stage  C  of  the  frame.  Only 
one  of  the  tubular  lamps  was  illuminat- 
ed so  as  to  cast  a  strong  shadow  from 
the  letters  to  the  background. 

The  silhouette  foreground  with 
"1938"  superimposed  was  placed  on 
Stage  B  and  illuminated  by  wander- 
lights,  set  well  up  the  frame  legs.  A 
small  lens  stop  was  used  with  time  ex- 
posures of  several  seconds  allowed  for 
each  frame.  The  exposure  for  the  fore- 
ground was  kept  constant  by  switching 
on  the  wander-lights  for  the  same  num- 
ber of  seconds  each  time.  But  the  ex- 
posure for  the  word  "Crisis"  was  va- 
ried within  wide  limits  by  changing  the 
duration  of  illumination  from  the  strip- 
lite  from  a  second  or  two  to  several  sec- 
onds, from  frame  to  frame.  Such  work 
must  always  be  carried  out  in  a  relative- 
ly dark  room,  of  course,  otherwise  the 
room  lighting  would  add  unwanted 
"effects." 


HOME  MOVIES  FOR  APRIL 


PACE  167 


The  resulting  title  consisted  of  a 
flickering  background,  with  occasional 
flashes;  guns  firing;  shells  bursting. 
There  was  the  suggestion  of  War,  and 
added  emphasis  was  given  to  the  mean- 
ing of  the  word  "Crisis!" 

As  single  frame  time  exposures  are 
readily  made,  self  spelling  titles  are  as 
easily  made  by  adding  a  letter  to  the 
word  between  each  exposure.  This  effect 
can  be  overdone.  Although  it  clearly 
savors  of  trickery,  it  can,  occasionally, 
be  used  in  a  logical  manner.  For  ex- 
ample, if  the  film  is  about  Junior,  this 
device  may  be  used  to  call  attention  to 
his  age  or  the  year  in  which  the  film  was 
made.  The  title — "James  B.  Cushbeck — 
Junior,  known  to  his  pals  as  Gyp,"  ap- 
pears in  the  upper  half  of  the  screen,  to 
be  followed  by  the  words  "Aged  Three," 
spelling  themselves  out  in  the  lower  por- 
tion of  the  picture. 


A  simple  and  effective  introductory 
title  can  be  made  by  setting  up  on  the 
movable  stage  in  the  usual  way,  using 
loose  letters.  The  title  in  this  case,  is 
placed  upside  down  as  viewed  from  the 
camera.  After  a  suitable  length  has  been 
run  off,  the  underside  of  the  movable 
stage  is  tapped  so  as  to  shake  the  loose 
letters,  scattering  them  over  the  title 
board.  On  reversing  the  film  for  pro- 
jection, a  scattered  heap  of  letters  will 
jump  about,  finally  forming  themselvse 
into  the  opening  title.  One  such  title  in 
any  one  film  will  be  quite  enough;  the 
trick  title  is  easily  overdone  and  con- 
stant repetition  becomes  tiresome. 

Next  month  we  shall  tackle  the  fas- 
cinating problems  connected  with  film- 
ing trick  movies,  describing  how  the  ef- 
fects Frame  may  be  utilized  for  a  wide 
variety  of  magic  transitions  and  cine- 
matic effects. 


17 

AWARDS 

the  b  e^t  amateur  ^ilm^ 

oi  1942 


HOME  MOVIES'  1941  Amateur  Contest  is  now  in  full  swing! 
Although  contest  does  not  close  until  September  30th,  already  many  ex- 
ceptionally fine  entries  have  been  filed. 

Don't  wait  until  closing  months  of  contest  to  get  started.  Plan  your 
story  now.  Develop  that  filming  idea.  Get  your  camera  into  action.  Then 
you'll  have  more  time  for  editing  and  titling — to  put  the  "finishing" 
touches  on  your  film  that  so  often  spells  success  for  an  entry. 

Th2  Lloyd  Bacon  Trophy  is  the  big  prize  to  shoot  for.  Then  there  are  16 
other  trophies — a  total  of  17  awards  in  all.  So  get  busy.  And  remember, 
every  amateur  movie  maker  has  a  chance  to  win.  HOME  MOVIES' 
Annual  Amateur  Contest  offers  the  beginner  equal  opportunity  with 
the  seasoned,  advanced  amateur. 

Submit  your  entry  as  soon  as  ready.  It  will  be  reviewed  and  entered, 
and  returned  to  you  promptly,  subject  to  recall  for  review  at  close  of 
contest  if  necessary. 

HOME  MOVIES 


6060  Sunset  Blvd. 


Hollywood,  Calif. 


COLOR  FILMS 
NEED 
VAPORATE 

deep  seated  chem- 
ieal  protection 
that  surface  lac- 
quers and  lubri- 
cants cannot  pro- 
vide. 


xow. .  . 

more  than  ever  before, 
the  need  for  saving 
and  safety  is  of  vital 
importance.  NOW  is 
the  time  to  protect 
your  irreplaceable 
films  against  climate, 
scratches,  oil,  water 
and  fingermarks. 


Ynur  dealer  has  always  had  this  VITAL 
service  available  for  you — NOW  you  are 
urged  to  use  it  for  saving  and  safety. 

vapOrate 


Better  photo  finishers  offer  VAPORATE  protection 
for  still  negatives. 


VAPORATE  CO.,  INC. 
130  W.  46th  St. 
New    York  City 


BELL    &     HOWELL  CO. 

1801  Larchmont.  Chicago 
716  No.  La  Brea,  Hollywood 


Now  You  Con  Take 
Such  5ive//  Pictures! 


Now  at  last  you  can  get  make-up  specially 
developed  for  your  black-and-white  photogra- 
phy. Subdue  bad  features,  achieve  flattering 
movie-quality  pictures  and  save  retouching! 

Hampden's  Photographic  Make-up  is  a  com- 
plete easy-to-use  kit  for  all  your  make-up 
needs.  It  comes  in  the  new  stick  form  with 
full  instructions  on  how  to  use! 

Creamy  •  non-greasy  •  blends  perfectly  • 
easy  to  remove  •  conceals  minor  defects  • 
gives  the  skin  a  beautiful,  smooth,  satiny  finish. 

Save  time,  trouble,  wasted  film  and  have 
more  beautiful,  natural-looking  pictures.  Get 
your  kit  at  any  photographic  store  or  from 
Hampden  Sales,  251  Fifth  Ave.,  New  York. 

Wrue  for  FREE  /ROUJD'Fl-BflSE 

Illustrated  Booklet      /  V 


PHOTOGRAPHIC  MAKE-UP 


Preserves  Precious  Movie  Films 

"VICTORY' 
No  Metal  REEL  FILES 

3  Volume  De  Luxe  Library  Series, 
holds  18  200-ft.,  8-mm  reels.  Black 
or  brown  carrying  case  with  swivel 
hinge  front  cover.  Dustproof.  Re- 
movable index.  Complete  with  ISplas 
tic  reels  and  case,  $  1 6. 7  5 ;  without  reels, 
$10.  Individual  Files  hold  6  200-ft., 
8-mm  reels.  Complete  wirh  6  plastic 
reels,  $4.75 ;  without  reels,  $2.50. 

Write  for  descriptive  circular 
WESTERN  MOVIE  SUPPLY  CO. 
SAN  FRANCISCO  HOLLYWOOD 


8 


ENLARGED 

TO 


«  f\     REDUCED  O 

Id  to  o 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
II97-A  MERCHANDISE  MART 
CHICAGO 


PAGE  168 


HOME  MOVIES  FOR  APRIL 


NEW!   Ries   Photoplane  Head 

Model   "E"  (Ensign) 


Model  "E"  may  be  used 
wTth  any  standard  make  tri- 
pod. When  set  to  90°  the 
camera  will  shoot  straight 
up  or  down,  or  any  angle 
variation  between  these  positions.  Head  may  be  in- 
stantly locked  in  any  position.  Features  full  360  de- 
gree swing.  Has  a  level  built  right  into  base  of  head. 
A  special  feature  is  removable  plug  to  disengage 
camera  from  head,  operates  on  an  instant  spring  lock 

principle.  MODEL  "E"  (ENSIGN)  $13.50 

Free  Catalog  On  Kefiuest 

1314  Beachwood  Drive 
RIES    CAMERA    CO.    Hollywood.  Calif. 


The  Price  !s  Soon  Forgotten 
But  the  Quality  NEVER 

QUALITY  OUTDOOR  iftCftSIfl 
WESTON-  12  ?P»£*»W 

Per  100  Feet  16mm  

No.  1  Pan — Weston- 16- 12  $3.75 

No.  2  Pan — Weston-32-20   4.00 

No.  3  Pan — Weston-80-40   4.50 

PROCESSING  INCLUDED 

OWEN  LABORATORY 


2819  E.  ANAHEIM  ST. 


LONG  BEACH.  CALIF. 


TRIAL 


OFFER 


FOTO 


Tints 


6  Capsules     ^^ny^  HURRY! 

(1  each  of  6  colors)  For  Tinting  Movies       Send  25c  Today 
for  25c  35mm.  Slides         Offer  Limited. 

MANSFIELD    PHOTO    RESEARCH  LABORATORIES 

 Dept.  mi-i,  701  S.  La  Salle  St..  Chltagn.  111. 


8mm  FILM  SLITTER 

Slits  lenrm  width  film  to  exact  8ram  width.  Die 
cast  body,  hardened  steel  cutting  wheels.  Will 
not  scratch  film.  Precision  built.    Price  $2.50. 

At  your  dealers 

RALPH  V.  HAILE  &  ASSOCIATES 

215  WALNUT  ST.  CINCINNATI,  OHIO 


NOW!!!  Spmd  less  to  own  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 

ONYX      ONYX  ONYX 
8  24  Hi-Speed 

100  h.  16  $2.25    $4.25  $4.75 

25  ft.  8/8   1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

RATINGS  — 8-24-50  for  Daylight 
Reversal  Processine  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processing. 
KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO,  ILL. 


Kodachrome 


MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 

1197A   Merchandise   Mart,  Chicago 


16mm.  OUTDOOR 


100  feet, 
Weston  8.- 


$2.50 


Guaranteed  machine  processing.  Finegrain.  wide 
latitude.  Excellent  for  outdoor  filming  and  titling. 

HOLLYWOODLAND  STUDIOS 

9320  California  Ave.  South  Gate.  Calif. 


HOW  I  KEEP  MY 


BUSY... 


MOVIE    MAKING    IDEAS    FROM  READERS 


Movie  Diary 

Nearly  everyone  at  one  time  or  an- 
other has  kept  a  diary.  My  interest  in 
a  diary  began  when  it  occurred  to  me  to 
make  mine  in  motion  pictures — of  our 
children.  To  begin  with,  I  made  a  shot 
of  the  cover  of  a  diary,  then  opened  the 
book  to  the  date  on  which  I  had  writ- 
ten, with  india  ink,  "Joanne  lost  her 
first  baby  tooth  . . ."  and  made  a  shot 
for  the  first  title. 

I  followed  this  with  a  closeup  of 
Joanne,  showing  the  missing  molar.  This 
idea  keeps  my  camera  busy  nearly  every 
day  in  the  year  as  there  is  always  some- 
thing happening  which  we  would  oth- 
erwise write  in  a  regular  diary.  So  we 
film  it  for  our  movie  diary  instead. 

— Fred  A.  Hager, 
Akron,  Ohio. 

Finds  Ideas  Aplenty 

I  have  always  been  fortunate  in  find- 
ing ample  interesting  material  to  keep 
my  camera  busy.  In  the  fall,  for  ex- 
ample, I  take  many  hikes  into  the  hills 
and  surrounding  country  and  into  the 
State  parks,  capturing  the  most  unusual 
shots  which  prevail  at  that  time  of  year. 

I  always  carry  my  camera — an  8  mm. 
with  an  f/  2.7  lens — on  hunting,  fishing, 
and  picnic  trips.  Also,  when  attending 
vaudeville  shows,  my  camera  goes  along, 
loaded  with  high  speed  film.  Thus  I 
have  made  interesting  pictures  of  such 
celebrities  as  Jan  Garber,  Ted  Lewis, 
Paul  Whiteman,  Del  Courtney,  Henry 
Busse,  Eddy  Duchin,  and  Clyde  Mc- 
Coy together  with  their  orchestras.  I 
believe  that  I  am  the  only  amateur  film- 
er  who  has  a  motion  picture  of  the  late 
Hal  Kemp  taken  just  before  his  death. 

Fairs  and  other  outdoor  events  such 
as  track  meets,  hockey,  skating,  etc., 
also  furnish  interesting  movie  material 
and  I  make  it  a  point  to  be  on  hand 
with  my  camera  when  such  events  are 
staged  in  my  vicinity.  I  have  rare  shots 
in  color  of  Don  Lash,  and  Greg  Rice — 
America's  two  greatest  track  stars.  Al- 
so I  have  shots  of  Lucky  Teters  and  his 
daredevils  jumping  automobiles  over 
busses,  etc.  All  of  this  is  easily  within 
the  reach  of  most  movie  amateurs. 

— Homer  Baugc, 
Indianapolis,  hid. 


Do  you  shoot  a  roll  of  film,  then  put 
your  camera  back  on  the  shelf  indefi- 
nitely, or  do  you  keep  active  shooting 
movies  all  the  time? 

For  the  best  letter  received  each 
month  telling  "How  I  Keep  My  Camera 
Busy"  the  editors  will  reward  the  con- 
tributor with  a  roll  of  panchromatic 
film;  second  best,  copy  of  either  "Home 
Movie  Gadgets"  or  "How  to  Title  Home 
Movies" — both  valuable  books  for  the 
movie  amateur;  and  third  best,  two  of 
the  new  "Steel-Flex"  reels  (8mm.  or 
16mm.)  and  containers. 

Address  letters  to  Editor,  HOME 
MOVIES,  6060  Sunset  Blvd.,  Holly- 
wood, Calif. 


Earns  Money 

This  is  how  I  not  only  keep  my  cam- 
era busy,  but  by  so  doing  I  earn  money 
to  keep  me  supplied  with  film  —  the 
stuff  that  makes  possible  keeping  my 
camera  busy. 

Whenever  I  have  a  few  feet  of  film 
left  in  the  camera,  I  canvass  various 
people  in  town  and  make  movies  of 
them  or  of  their  children  at  play,  com- 
ing or  going  to  school,  etc. — often 
making  such  shots  unbeknown  to  them. 
After  the  film  is  processed,  I  make  en- 
largements of  the  best  frames  and  have 
no  difficulty  in  disposing  of  them  to  in- 
terested parties — especially  when  a  little 
hand  coloring  is  added  to  the  pictures. 

— Paul  P.  Brefka, 
Syracuse,  N.  Y. 

^^Thru  My  Window" 

Restricted  to  my  bedroom  by  illness, 
champing  at  the  bit  because  I  could  not 
keep  my  camera  active,  the  monotonous 
pleasure  of  looking  out  the  window 
palled  upon  me  until  I  suddenly  discov- 
ered my  confinement  was  a  blessmg  in 
disguise. 

Pondering  there  one  day,  wishing  and 
hoping,  I  suddenly  was  agreeably  sur- 
prised to  note  the  wealth  of  incidents, 
all  worthy  of  being  photographed,  that 
passed  before  the  window.  Before  I  had 
the  picture,  I  had  the  title — "Through 
My  Window." 

For  instance:  early  morning,  some- 
how, produced  the  batch  of  neighbors 
who  loved  to  gossip.  In  groups  of  two 
or  three  and  sometimes  more,  within 


ORDER  FOR  SUBSCRIPTION 

[ome  Movies  Magazine 

12  MONTHS  FOR  $2.00  IN  U.  S. 
In  Canada,  $2.00;  Foreign — $3.00 

SPECIAL  OFFER:  3  Years  for  $5.00  In  the  U.  S.  A. 
)ME  MOVIES 

>Q  Sunset  Blvd.  ^ 
Jlywood,  Calif. 

Send  to   

Address   

City    State   

□  New  □  Renewal  □  Gift 


Send  to 
address 


NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  APRIL 


PACE  169 


work  out  a  little  sequence  of  mother 
and  the  grocer  as  her  food  money  no 
longer  buys  as  much  as  it  once  did.  Mar- 
ket advertisements  might  be  filmed  as 
cost  of  food  rises.  Nor  should  this  war 
documentary  neglect  the  little  ones; 
they,  too,  have  their  paper  drives,  their 
saving  of  money  for  Defense  Stamps  and 
other  war  campaigns  which  center  in 
the  schools. 

As  the  cine  fan  runs  over  in  his  mind 
the  many  changes  in  living  that  have  al- 
ready come  about  since  the  war  began, 
and  contemplates  the  inevitability  of 
further  demands  yet  to  come,  he  will 
soon  have  a  large  collection  of  ideas  for 
sequences  in  this  family  film.  The  im- 
portant thing  is  to  start  at  once,  while 
many  events  and  orders  are  still  fresh. 
The  more  ways  in  which  the  war  can  be 
shown  in  its  impact  on  the  home,  the 
more  interesting  will  be  the  picture  in 
years  to  come. 

— S.  James  Biahon 
Sf.  Louh,  Mo. 

One  J^eel  M^ovie^ 

•  Continued  from  Page  140 

camera  range,  they  all  stood  to  start  my 
day's  cinematic  activities.  Came  the 
children  going  to  school,  always  doing 
something  interesting  and  all  good  for 
a  few  shots.  Neighbor  Jones,  out  to 
mow  his  lawn,  paused  every  now  and 
then  to  look  this  way  and  that  way, 
stooped  to  remove  something  from  his 
path,  lighted  his  pipe  and  rested  as  he 
looked  over  the  mower.  Followed  the 
cavalcade  of  tradesmen  —  bakers,  ice- 
men, the  late  milkman,  the  trash  collec- 
tors, the  white  wagon  with  "Doggie's 
Dinner,"  and,  of  course,  the  Good  Hu- 
mor man  with  his  merry  jingling  bells. 
All  drove  along  the  street — all  making 
and  furnishing  their  share  of  picture- 
making  material.  So  the  day  passed.  The 
police  squad  car  rolling  by,  the  neigh- 
borhood dogs  romping,  the  people  going 
to  and  coming  from  market,  the  school 
kids  homeward  bound.  Mothers  out  call- 
ing for  wayward  offspring.  Fathers,  sis- 
ters, brothers  returning  from  work.  The 
street  lights  coming  on.  Each  a  thing  to 
picture  and  each  occurring  within  cam- 
era range  of  my  window. 

As  time  passes  and  I  complete  my 
reel,  "Through  My  Window"  will  be- 
come valuable  to  me.  Old  people 
whom  I  have  pictured  will  pass  along. 
New  ones  will  take  their  places.  They 
are  the  actors  in  the  homey  incidents 
that  constitute  life;  none  of  which  have 
I  found  too  commonplace  to  photo- 
graph. They  will  become  dearer  to  me 
and  take  an  added  significance  with 
the  passing  of  time  and  the  change  it  ef- 
fects as  they  keep  my  camera  busy. 

— W.  C.  Crump, 
Pasadena,  Calif. 


MITTENS  /professional 
MOVIE  TITLING  SET 

(Pin-Back  or  Sanded-Back  Letters) 

For  that  added  Hollywood  Studio  touch  make  your  home  movie  titles  with  the 
three  dimension  Mittens  tetter.  They  allow  dozens  of  clever  variations  to  your 
movie  titles.  They  photograph  with  the  same  sharp  brilliance  of  high-light  and 
shadow  as  the  titles  you  see  on  your  local  theatre  screen.  Don't  apologize  for 
your  unfinished  reels  .  .  .  title  with  Mittens  letters  today. 


Each  set  contains  246  upper  and  lower  case  letters  in  either 
Pin-Back  or  Sanded-Back  letters. 

PRICE  

On  sale  at  your  camera  store  or  write 


$750 


MITTENS  LETTER  CO. 

REDLANDS  CALIFORNIA 


PAGE  170 


HOME  MOVIES  FOR  APRIL 


IWWTOTITU 

MoniE  movies 


GIVE   IT   A  NAME! 

Your  movie  deserves  a  name — a  main 
title — as  well  as  descriptive  sub 
titles.  And  you  can  easily  film  them 
yourself.  Here  is  the  book  that  tells 
you  how — gives  all  the  data  con- 
cerning exposure,  title  areas,  auxili- 
ary lenses,  title  construction,  plus 
complete  plans  for  building  your  own 
home  titler.  Send  for  this  book  to- 
day only  .  .  . 

$1-00 

POSTPAID 


BUILD  IT  YOURSELF! 

That  gadget  you've  been  wanting — 
sunshade,  filter  holder,  fading  de- 
vice, or  camera  dolly — you  can  eas- 
ily build  yourself.  You  don't  have  to 
be  a  mechanic;  as  long  as  you  can 
use  a  few  simple  tools  you  can  make 
any  of  the  gadgets  illustrated  and 
described  in  this  fascinating  book  of 
Home  Movie  Gadgets.  Making  one 
gadget  will  more  than  repay  the 
price  of  .  .  . 

$1 .00 

POSTPAID 

HOME  MOVIES 

6060  Sunset  Blvd. 
Hollywood  California 


Jti  JVew  to  Me! 

•  CotttinueJ  from  Page  1 5 } 

reels.  Model  VC^',  complete  with  18 
plastic  reels  and  case  is  priced  at  $16.75. 
Model  VCC,  without  reels  is  S  10.00. 
'  Price  of  case  only  is  S}.oo. 

Individual  files  are  available.  Each 
holds  six  2oo-ft.  8  mm.  reels.  Model 
complete  with  6  plastic  reels  is  set 
to  retail  at  S4.75.  Price  of  individual 
files,  without  reels  is  S2.50. 

Further  information  and  literature  is 
available  from  Vestern  Movie  Supply 
Co.,  254  Sutter  St.,  San  Francisco,  Calif. 

New  8mm.  Film 

Hollywoodland  Studios  announce  a 
new  line  of  8  mm.  film  ready  for  distri- 
bution priced  to  include  processing  and 
return  postage.  The  group  includes 
"Ambertint"  with  a  Veston  rating  of 
8,  and  "Outdoor"  with  the  same  rating 
— both  fine  grain  semi-ortho  films.  Next 
i  is  the  Hi-Speed  Pan  with  a  rating  of 
^'^-40-52.  For  high  speed  indoor  filming, 
there  is  the  HiSpeed  (Red  label)  film 
I  rated  at  V-80-32  Mazda. 

A  feature  of  HoUywoodland's  an- 
nouncement is  the  offer  to  the  first  5000 
customers  of  i  roll  of  "Ambertint"  and 
I  roll  of  "Outdoor"  for  only  S2.00 
when  order  is  accompanied  by  ad  ap- 
pearing in  this  issue  of  Home  Movies. 

Holh'woodland  Studios  is  located  at 
9320  California  Ave.,  South  Gate, 
California. 

Photo  Booklets 

X.  Y.  Institute  of  Photography  has 
just  issued  a  new  free  book  on  today's 
photo  opportunities.  Of  interest  to  still 
and  cine  photographers  alike,  it  is  pro- 
fusely illustrated  and  describes  the  va- 
rious photographic  study  courses  avail- 
able from  N.  Y.  Institute  of  Photog- 
raphy, 10  West  33rd  St.,  X.  Y.  City. 

A  copy  of  this  booklet  will  be  sent 
free  on  request. 


Z)lte  d^eadi 


er 


Speaks  .  . 


•  Continued  from  Page  1)4 

that  we  might  have  filmed  along  the 
way  en  route  from  Akron  to  Miami.  I 
wrote  to  the  secretaries  of  other  cine 
clubs  whose  cities  situated  along  our 
now  abandoned  route  of  travel,  and  ar- 
ranged for  them  to  shoot  a  few  scenes 
each.  To  complete  my  material,  I  clung 
to  the  ruiming  board  of  my  car,  while 
my  wife  drove  me  about  our  neighbor- 
hood, and  filmed  shots  of  the  car  wheels 
turning.  These  I  planned  to  splice  in  be- 


tween the  shots  of  the  various  cities  to 
give  the  impression  of  the  progresssion 
of  our  tour  from  Akron  to  Miami. 

All  of  the  scenes  which  I  arranged 
for  came  through  promptly  and  in  due 
time  were  edited  into  my  "vacation" 
reel.  Communicating  with  and  receiv- 
ing the  cooperation  of  so  many  strange 
but  friendly  movie  amateurs  of  other 
cities  proved  extremely  interesting  and 
I'm  sure  they  must  have  obtained  a  little 
fun  out  of  it,  too. 

This  proves  that  amateurs  in  distant 
cities  are  ready  to  assist  their  brother 
hobbyists,  and  I,  too,  can  now  be  num- 
bered among  those  enthusiastic  filmers. 
I'm  ever  ready  to  lend  a  hand  to  any 
amateur  needing  shots  of  anyth  ng  in  or 
near  Akron,  Ohio. 

— fred  A.  Hager, 
Akron,  Ohio 

ZJitle  ZJrouhle^  . . . 

•  Continued  from  Page  i}6 

this  task  can  be  made  easier  if  a  lever 
of  some  sort  is  rigged  up  on  the  lens  to 
facilitate  a  smooth  movement  of  the  iris 
adjustment  ring.  Suggested  is  a  gadget 
such  as  used  by  many  amateurs  for  cre- 
ating fades.  It  consists  of  a  metal  ring 
which  slips  over  the  iris  ring  and  held 
in  place  by  a  long  thin  bolt,  tightened 
as  required.  The  bolt  serves  as  the  lever 
with  which  to  move  the  iris  ring.  Sev- 
eral test  shots  are  suggested  as  a  means 
of  perfecting  this  technique. 


U.  S.  WANTS  IDLE  SOUND 
PROJECTORS 

Owners  of  1939,  1940  and  1941  mod- 
el 16  mm.  sound  projectors  are  being 
asked  by  the  Var  Production  Board  to 
offer  them  for  sale  to  the  Gorvemment. 

These  projectors  are  essential  for  the 
rapid  teaching  of  the  Armed  Forces  and 
defense  workers.  Due  to  the  present  alum- 
inum shortage,  production  of  new  pro- 
jectors, requiring  aluminum  castings  and 
parts,  is  being  curtailed 

Approximately  35,000  16  mm.  sound 
projectors  were  manufactured  in  1939, 
1940  and  194 1  and  sold  for  various  pur- 
poses. Many  of  the  purchasers  were  large 
corporations  —  automobile  manufacturers 
and  distributors,  for  example — who  used 
the  machines  for  sales  promotion. 

Any  private  individual,  business  or- 
ganization or  school  owning  16  mm. 
sound  projectors  that  can  be  made  avail- 
able for  Government  use,  are  asked  to 
write  to  the  Var  Production  Board,  giv- 
ing the  year  model  and  price  asked  for 
each  machine.  Letters  should  be  ad- 
dressed to  M.  D.  Moore,  Electrical  Ap- 
pliances and  Consumer's  Durable  Goods 
Branch,  '^ar  Production  Board,  Wash- 
ington, D.  C. 

The  Var  Production  Board  will  not 
itself  buy  the  projectors  but  will  trans- 
mit the  information  to  the  War  and 
Navy  or  other  Government  departments 
who  can  then  buy  the  projectors  they 
need. 


HOME  MOVIES  FOR  APRIL 


PAGE  171 


HOME    M  0  n  E  «•« 


TITLES 


Titles  appearing  in  HOME  MOVIES  each  month  are  now  available  in  colors 
for  Kodachrome — printed  in  color  on  tinted  stock.  Color  reproductions  of 
titles  appearing  in  the  January,  February  and  March  issues  are  now  ready — 
specially  priced  at  25c  per  set  of  eight  titles,  3  sets  for  joc.  Remit  with  order 
to  HOME  MOVIES,  Hollywood,  Calif. 


APRIL 


8 


J 


PACE  172 


HOME  MOVIES  FOR  APRIL 


RUSSIFIED 


IDVGRTISIili 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  We  deliver  the  goods.  New  or 
used  equipment  in  abundance  at  prices  to  suit 
your  purse: 

'  USED  CAMERAS 

8mm.  Keystone,  F:3.5  lens  and  case,  $21.50. 
8inm.  Keystone,  F:2.7  lens  and  case,  .$25.50. 
8mm.  Cine  Kodak,  F:3.5  lens,  .523.50. 
8mm.  Revere  Double  8,  Bausch  &  Lomb  F:3  lens, 
$34.50. 

16mm.  B.  &  H.  Model  75,  Cooke  F:3.5  lens,  .$34.50. 
16mm.  B.  &  H.  70A,  F:3.5  Cooke,  .$44.50. 
16mm.  B.  &  H.    Model    121,    Cooke    F:2.7  lens, 
$57.50. 

16mm.  B.  &  H.  Model  121  Magazine,  1"  F:1.8  fo- 
cusing, $77.50. 

16mm.  B.  &  H.  70DA.  1"  F:1.8  Cooke,  20mm. 
P:3.5  Cooke  and  3"  F:4  WoUensak,  case.  $235.00. 

16mm.  B.  &  H.  Automaster.  1"  F:2  Xenon,  2" 
F:2.8  Acura.  15mm.  F:2.7  wide  angle,  case, 
$272  50 

16mm.  Victor.  1"  P:2.7,  $47.50. 

16mm.  Victor  3.  1"  Cooke  focusing  mount.  1"  F:1.5 

Wollensak.   3"   F:4   Wollensak,    turret  model, 

$125.00. 

16mm.  Simplex  Magazine,  Kodak  F:1.9  focusing 

mount.  $62.50. 
16mm.  Cine   Kodak   B,    F:1.9    focusing  mount, 

$47.50. 

16mm.  Cine  Kodak  Magazine,  F:1.9  focusing, 
$87.50. 

16mm.  Movikon,  Sonnar  F:1.4,  coupled  range 
finder,  case,  $295.00. 

RARE  CINE  LENSES 
50mm.  Meyer  Plasmat  F:2.7,  focusing  C  mount, 
$63.50. 

25mm.  Plasmat  F:1.5,  C  mount.  $67.50. 
414"  Meyer  Trioplan  F:2.8.  focusing  C  mount. 
$85.00. 

50mm.  Meyer  Plasmat  F:1.5.  focusing  C  mount, 
$87.50. 

3       Cooke,  F:3.3,  focusing  C  mount,  $87.50. 
fi"  Cooke  Tele.  F:4.5,  focusing  C  mount,  $92.50. 
6"   Meyer   Tele-Megor    F:4.    focusing   C  mount, 
$95.00. 

USED  PROJECTORS 
16mm.  B.  &  H.  57A,  400  watt  lamp  &  case,  $50.00. 
16mm.  B.   &  H.  57GG.  375  watt  75  volt  lamp, 

800  ft.  capacity,  case,  $68.50. 
16mm.  B.  &  H.  Auditorium,  1200  watt,  1600  ft. 

capacity.  2"  F:1.6  lens  and  case.  $285.00. 

USED  SOUND  PROJECTORS 
16mm.   RCA  PG-70,   750  watt.   10  watt  output, 
$225.00. 

ICmm.  Victor  Animatophone  33,  750  watt  lamp, 
10  watt  output.  1600  ft.  speaker  and  case, 
$217.50. 

Limited  number:  Discontinued  new  model  Craig 
Jr.  16mm.  animated  Editor,  Splicer  and  Re- 
wind. Regularly,  $31.50;  our  price,  $23.63. 

Send  for  latest  revised  complete  price  list  of 
Cine  Apparatus  just  out. 

BASS  CAMERA  COMPANY.  Dept.  HC.  179  W. 
Madison  St..  Chicago.  Illinois. 

•  FULL  LIST  price  allowed  for  your  model  20 
Cine-Kodak  on  Magazine  Cine-Kodak  Eight: 
for  your  Revere  f  3.5  on  Revere  Turret; 
for  your  Model  50  Kodascope  on  Revere  projec- 
tor; for  your  A8  Keystone  on  Bell-Howell  or  Am- 
pro  projector:  for  your  Magazine  Cine-Kodak 
Eight,  your  8mm.  Revere  or  8mm.  Bell-Howell 
on  Bolex  Camera.  CAMERAS  AS  NEW:  Bell- 
Howell  70-D.  bronze  finish,  f  1.5  lens,  $175.00: 
16mm.  Bolex  f  1.4  Hektor  lens,  $275.00;  Bell- 
Howell  70.  with  attached  turret,  bronze  finish, 
f  1.8  Cooke,  $95.00;  8mm.  Bolex,  f  1.9  lens. 
$195.00;  8mm.  Bolex,  f  1.5  lens,  $275.00.  Tele- 
photo  lens  for  Model  20  or  25  Cine-Kodak,  only 
$22.50.  Write  for  liberal  allowances  for  your  pres- 
ent equipment.  NATIONAL  CAMERA  EX- 
CHANGE. Established  in  1914.  11  South  Fifth 
Street.  Minneapolis.  Minn. 

•  FILMO  WIDE-Turret.  focusing  1"  f  3.5.  1" 
f  1.5.  4"  f4.  $185.00;  Filmo  70A.  f  3.5.  $33.00; 
Victor  3.  f  2.9  L.  N..  $49.50;  Filmo  Mag.  121  f  '3.5. 
$45.00;  f  '1.5.  $79.50;  Mag.  Cine  Kodak  L.  N..  and 
case.  $79.50;  Stewart-Warner  16mm.  f  35.  case, 
$13.50;  Keystone  16mm.  model  A,  f  3.5,  case, 
$14.50;  Filmo-8  Sportster,  f '2.5,  $51.50;  Filmo-8 
Turret,  windback,  f  2,5,  1'  f '2.9.  focusing  model. 
$115.00;  Revere  88.  f  2.5  L.  N..  $38.50;  Perfex 
Turret,  f'2.5  L.  N..  $47.50;  Keystone  Proj..  500 
watt.  f  '.5,  $39.50;  A-81.  750  watt,  f  '1.6.  $57.50; 
Kodascope  B.  automatic.  300  watt.  1"  and 
lenses,  case.  $47.50;  DeVry  16mm.  Proj..  300  watt, 
case.  $24.50;  Kodascope  C.  100  watt.  $11.50;  Re- 
vere 88.  500  watt  deLuxe.  case,  L.  N.,  .«70.50. 
Kodascope  8,  model  20,  L.  N..  $10.50;  8  and 
16mm.  lenses  or  will  trade  for  35mm.  motion  pic- 
ture equipment.  CAMERA  MART  70  West  45th 
St  ,  N.  Y.  C. 


Have  you  Some- 
thing to  sell? 


Turn  it  into  cash  with  a  Home  Movies  classi- 
fied ad! 

RATES:  Ten  cents  per  word;  minimum  charge, 
H'i  cash  with  OTdcr.  Closing  date.  Iflth  of  pre- 
ceding month.  HOME  MOVIES  does  not  guaran- 
tee goods  advertised.  Send  ad  copy  to  6060  Sun- 
set Boulevard,  Hollywood,  California. 


EQUIPMENT  FOR  SALE 

•  E.  M.  BERNDT  Auricon  16mm.  sound-on-film 
recorder,  with  noise  reduction  circuit.  List  price. 
$695.00.  Display  model.  $495.00.  less  microphone. 
If  there  is  anything  you  can't  obtain  elsewhere, 
write  us.  BYRON'S,  INC..  625  15th  St..  N.  W., 
Washington,  D.  C. 

•  SA'VE — Easy  to  make  your  own  8-16mm.  Ac- 
tion Filmviewer.  No  shutter  or  moving  parts — 
film  appears  as  motion  pictures.  Send  $1.00  to- 
day for  blue  print  and  instructions.  BUCKLEY 
BROTHERS.  1188  Broadview  Ave.,  Columbus, 
Ohio. 

•  STANDARD  16mm.  projector,  750  watt,  with 
motor  rewind,  improved  shutter,  and  rheostat 
speed  control.  Will  sell  for  $54.50.  10-day  money- 
back  guarantee.  Write  BOX  A-2.  HOME 
MO'VTES.  6060  Sunset  Blvd..  Hollywood. 

•  CINE  SPECIAL  with  accessories.  Also  Taylor- 
Hobson  lenses  for  C  mountings,  wide-angle,  tel- 
ephoto  and  one-inch  f  2.7.  PAUL  BRADLEY. 
3721  N.  LaSalle  St..  Indianapolis.  Ind. 

•  SAORAFICE  —  practically  new  16mm.  Bolex 
camera  complete  with  one  inch  f/1.5  Wollensak 
lens.  First  check  for  $250.00  takes  it.  Write  BOX 
M-3,  HOME  MOVIES,  6060  Sunset  Blvd.,  Holly- 
wood, Calif. 

•  BELL  &  HOWELL  70E  16mm.  camera,  f  3.5 
lens,  leather  case.  like  new,  $60.00.  BOB  HAND- 
SAKER,  1115  Vallejo  Way,  Sacramento.  Calif. 

 V/ANTED  

•  WANTED:  Revolvers.  Target  Pistols.  Shot- 
guns. Rifles.  Binoculars.  We  make  liberal  al- 
lowances for  firearms  and  binoculars  to  apply 
toward  the  purchase  of  16mm.  and  8mm.  movie 
equipment,  still  cameras,  enlargers.  and  photo- 
graphic equipment  of  all  kinds.  NATIONAL 
CAMERA  EXCHANGE.  Established  in  1914.  11 
South  Fifth  Street.  Minneapolis.  Minn. 

•  WANTED — Used  movie  equipment,  all  kinds. 
Advise  price  and  full  description  first  letter.  A. 
F.  BRUCK.  201  Walnut  St.,  Hamilton,  Ohio. 

•  WANTED — used  equipment.  Bargain  list  on 
request.  PETERS,  41-B  So.  4th  St.,  Allentown, 
Penna. 

•  WANTED  used  8mm. -16mm.  films,  cameras, 
projectors.  Spot  cash  for  anything  photographic. 
We  sell,  trade.  BOBS,  154  East  47th  St..  New 
York  City.  

•  WANTED— Used  Fried  16mm.  sound  and  si- 
lent printer.  Advise  price  and  full  details  first 
letter.  Must  be  Al  condition.  A.  F.  BRUCK.  201 
Walnut  St..  Hamilton.  Ohio. 

KODACHROME    FILM  RELEASES 

•  HELLO!  Have  you  our  new  1942  film  lists? 
Exclusive  Kodachromes,  unusual  subjects,  allur- 
ing masterpieces.  Write  ER'WINE'S  ASSOCIATED 
E:NTERPRISES.  Allentown.  Penna. 

•  KODACHROME  TRAVEL  FILMS.  Latest  re- 
leases  now-  available  for  distribution,  in  8  and 
16mm.  A  postcard  will  bring  listings.  KENWOOD 
FILMS,  818  E.  47th  Street,  Chicago.  111.  

•  NEW  COLOR  transparencies  and  motion  pic- 
tures of  Southwest  Indian  ceremonies  and  home 
life.  Lectures.  E.  P.  HUNT,  Stanford  University, 
Calif.  

•  MOVIES  for  grownups.  (Not  Arts).  Many  in 
Kodachrome.  8mm..  16mm.  Lists,  handy  lens 
cloth,  dime.  .JENKINS,  392  Elmira.  N.  Y. 


 FILM  RELEASES  

•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE.  5  Little  Bldg..  Boston.  Mass. 


FILM  RELEASES 


•  THE  8MM.  Movie-A-Month  Club  is  proud 
to  announce  its  funniest  comedy  yet — one  of 
Mack  Sennett's  side-splitting  specials.  "Gym- 
nasium Jim  "  is  a  laugh  riot  without  a  doubt. 
Direct  from  35mm.  to  8mm.  The  oldsters  will  re- 
call many  of  these  scenes  with  fond  memory, 
the  younger  folks  will  see  slapstick  action 
they've  never  known.  Two  reels  at  $4.00  per 
reel.  Exchange  monthly  at  $2.00  per  reel.  Used 
prints  $2.00  per  reel.  200  ft.  per  reel.  Member- 
ship Free.  No  C.  O.  D's.  COPE  STTOIO.  3720 
So.  Figueroa.  Los  Angeles. 

•  8-16MM  LATEST  Releases:  "Burning  of  S.  S. 
Normandle — Bombing  of  Pearl  Harbor."  "Rus- 
sia Stops  Hitler,  "  "U.  S.  Navy  Blasts  Marshall 
Islands."  Many  other  subjects,  silent  and  sound. 
Bargains  in  cameras,  silent-sound  projectors. 
Films  rented  everywhere.  Free  illustrated  cata- 
log fwith  sample,  10c).  GARDEN,  317  West  50th 
St..  N.  Y.  City.  

•  YOURS  for  the  asking!  Mammoth  40-pace 
film  rental  catalog — silent,  sound.  Emm.  and 
16mm.  Forward  your  name  and  address  today. 
NATIONAL  CINEMA  SERVICE,  69  Dey  St.. 
N.  Y.  C.  

•  1000  Subjects  listed!  New  Catalog  -  8mm.  com- 
edies 200  ft.  each,  brand  new.  $4.50.  Liberal  ex- 
changes for  your  old  subjects.  ABBE  FILMS.  1265 
Broadway.  N.  Y.  City. 

•  BARGAINS  in  used  8-16mm.  silent  subjects. 
Large  selection.  Send  for  listing.  Specify  8- 
16mm.  CINE  FILM  MART,  110  West  34th  St., 
N.  Y.  C.  

•  8MM.  FILMS!  New  Castle  releases.  Good  used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL 
FILMS,  Dept.  HM-442,  2221  W.  67th  St..  Cleve- 
land. _Ohio. 

•  8-16MM.  films  bought,  sold,  exchanged.  Silent- 
Sound  odd  reels.  $1.50.  Catalog,  sample  fllm.  10c. 
INTERNATIONAL.  2120  Strauss,  Brooklyn.  N.  Y. 

•  8-16MM.  FILMS — Free  catalog  (with  sample 
film.  10c).  PARKWAY  EXCHANGE.  961  Eastern 
Parkway,  Brooklyn.  N.  Y. 

•  16MM  SOUND-SILENT  films,  bought,  sold,  ex- 
changed.  Castle.  Official  latest  releases  in  stock. 
BETTER  FILMS.  742  New  Lots  Ave.,  Brooklyn. 


FILMS 


•  8MM.  -  16MM.  Film,  including  processing,  day- 
light loading,  non-halation.  25  ft.  8  8mm.  West- 
on 12.  85c;  Weston  24-16.  $1.25;  Weston  64-40. 
$1.50.  100  ft.  16mm.  Weston  12.  $1.85;  Weston 
24-16.  $3.75;  Weston  64-40.  $4.00.  RITTER  FILM 
SERVICE.  629  Lyman  Ave..  Oak  Park.  HI. 


TITLING 


•  TITLING  and  CLose-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20",  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  all  tillers 
which  provide  for  interchange  of  lenses.  Also 
ideal  for  general  close-up  photography.  Complete 
kit  $3.00.  Separate  lenses.  60c  each.  Also  avail- 
able in  6".  8"  and  12"  focal  lengths  for  ultra- 
closeup  work.  HOLLYWOOD  CINE  PRODUCTS 
CO..  3221  So.  Figueroa  St..  Los  Angeles.  Calif. 

•  8mm.  TITLES,  your  wording  or  from  Home 
Movies  magazine,  15c,  8  for  $1.00.  8  words.  2c 
each  additional  word.  O.  E.  ARNDT,  1840  So. 
High,  Salem,  Oregon. 

PROCESSING  SERVICE 

•  MOTION  picture  processing.  100'  16mm.,  75c; 
50'  16mm.,  50c;  25'  8'8mm..  35c;  25'  8mm.,  25c. 
RITTER  FILM  SERVICE.  629  Lyman  Ave.,  Oak 
Park.  ni. 


HOBBY  BOOKS 


•  Save  money  in  wasted  film  and  increase  your 
enjoyment  of  home  movie  making  by  having 
a  complete  textbook  on  operation  of  the  movie 
camera.  Lack  of  knowletige  results  in  wasted 
film  and  loss  of  enjoyment.  If  you're  a  begin- 
ner in  cinematography  you'll  want  a  copy  of 
"How  to  Use  a  Movie  Camera."  Just  50c  and 
well  worth  it. 

There's  fun  and  satisfaction  in  processing  your 
own  film,  besides  enabling  you  to  use  inexpen- 
sive bulk  fllm.  Full  of  instructions  and  advice 
by  experts,  plus  complete,  easy-to-understand 
plans  for  building  your  own  processing  equip- 
ment. "How  to  Process  Movie  Film"  is  a  money 
saver  at  50c.  postapid. 

The  basic  textbook  of  home  titling  Is  another 
"must"  for  the  amateur's  library.  This  popular 
volume  tells  all  about  title  exposure,  what 
equipment  to  use.  all  about  auxiliary  lenses,  and 
how  to  make  your  own  titler.  Send  $1.00  today 
for  vour  copy  of  "How  to  Title  Home  Movies." 

VER  HALEN  PUBLICATIONS.  6060  Sunset 
Blvd.,  Hollywood.  Calif. 


Bi3  News  For  Movie  Amateurs! 


2  lew  Booklets 
full  of  Filming  Ideas! 


New  from  cover  to  cover — they're  packed  with  practical  filming 
plots  that  are  easy  to  shoot  and  certain  to  make  your  movies  more 
entertaining.  If  your  problem  is  lack  of  filming  ideas  these  two 
booklets  will  supply  what  you  need! 


If  you're  plotting  a  movie  of  this 
year's  vacation,  or  want  to  height- 
en interest  in  last  year's  vacation 
film  with  a  good  running  gag, 
this  booklet  offers  50  fresh  profes- 
sionally conceived  filming  ideas 
that  any  amateur  can  use.  Replete 
with  interesting  and  hunrwrous  con- 
tinuity plots,  ideas  for  running 
gags,  plus  several  timely  art  Vaca- 
tion titles,  its  a  lot  of  value  for 
only  25c. 


Anyone  can  make  movies  of  kiddies,  but  how  many  start 
filming  with  any  idea  of  interesting  continuity?  Here's  a  new 
book  filled  with  filming  ideas  for  children's  movies,  pub- 
lished at  the  request  of  thousands  of  HOME  MOVIES'  readers 
who  recognize  a  need  for  such  helpful  service.  Don't  shoot 
another  foot  of  film  until  you've  read  this  book — gotten  an 
Idea  that'll  make  your  children's  movies  the  talk  of  the 
town!  Its  complete,  too,  with  several  art  main  titles. 
Only  25c,  postpaid. 


iflW! 


...use    this  coupon 

HOME  MOVIES 

6060  Sunset  Blvd.,  Hollywood,  Calif. 
Gentlemen: 

Enclosed  please  find  c  for  which  please  send 

postpaid  copies  of  "50  Ideas  for  Vacation  Films" 

and  copies  of  "50  Ideas  for  Filminjr  Children." 

Name    

Address  

City  State  


Filmo  8inm.  Pre|«<tof  wMi  200-foof  film  capacity,  camplata 
ufool 


ONE  of  many  reasons  why  Filmo  Projectors 
show  your  movies  at  their  brilliant  best  is 
the  precise  centering  of  the  lamp  filament  on 
the  optical  system  axis.  ^X■ithout  this  exclusive 
B&H  constr-uction,  filament  location  can  vary 
enough  to  cause  uneven  screen  illumination 
and  "color  fringing." 

One  of  the  many  features  by  which  Filmo 
8mm.  Projectors  protect  your  often  irreplace- 
able films  from  damage  is  the  positive,  jerk- 
free,  all-gear  drive  to  feed  and  take-up  spindles. 
Gear  drive  also  means  no  oily  belts  to  handle. 


Filmo  Projector  lamp  with  B&H  prejocusing 
ring,  essential  to  getting  all  the  light  to  the  film 


Cover  removed  to  show 
positive,  quiet  gear- 
trains  which  eliminate 
spring  or  chain  belts  in 
Filmo  8mm.  Projectors 


The  Ideal  Films  for  Movie  Parties! 

It  takes  the  right  films  to  make  movie  parties  successful. 
And  you'll  find  just  the  films  you  need  for  any  audience 
among  Filmosound  Library's  thousands. 

Do  you  want  late  Hollywood  photoplays  featuring 
your  friends'  favorite  stars.'  Riotous  short  comedies.' 
Whimsical  cartoons,  pierhaps  in  full  color.'  Vital  news- 
reels  of  the  moment.'  Travel  and  adventure  films.'  Reels 
on  almost  any  popular  sport?  Musicals  and  operatic 
subjects.'  Educational  films.'  We  have  them  all,  in  wide 
selections  ...  in  fine  physical  condition  ...  at  moderate 


rentals. 


t-B  ■  ■  &  ■  T 

mi 

B 

Three  new  catalogs,  one 
each  on  recreational,  edu- 
cational, and  religious 
films,  contain  objective  re- 
views which  make  selec- 
tion easy  and  sure.  Cata- 
logs are  free  to  I6mm. 
sound  projector  owners, 
2  5c  each  to  others.  Send 
the  coufKjn  for  the  ones 
you  want. 


FILMOSOUND  "UTILITY."  A  superb,  I6mni.  sound-film  projeaor, 
ideal  for  presenting  modern  "talkies"  in  your  home,  and  with 
ample  capacity  to  serve  in  your  club,  church,  or  school.  Readily 
portable.  Shows  silent  films,  too.  Ask  your  dealer  for  his  trade- 
in  allowance  on  your  silent  projector. 


PRECISION 
MADE  BY 


MOVIQUIZ  FILMS 

A  Partial  List 

See  America  First 

Puerto  Rico. 
America  s  High  Spots. 

Our  Colorful  World 

land  of  the  Incas. 
Arctic  Thrills. 

History  and  Current  Events 

News  Parade  of  1941. 
Story  of  Our  Flag. 

Games  and  Sports 

Bowling  Aces. 
Ride  'Em,  Cowboy. 

Hobbies  and  Handicrafts 

Leather  ^X'ork. 
Clay  Potter>-. 

North  American  Birds 

Humming  Bird. 
Marsh  Birds. 


Ml 


XThedier  it's  a  famny  gaOiertng,  ao  erening^ 
with  friends,  a  children's  party,  or  an  occa- 
sion at  your  church  or  club,  everyone  will 
have  a  wonderful  time  playing  Movufuiz. 
This  fascinating  and  educational  new  game 
combines  the  popular  appeals  of  two  great 
forms  of  entertainment— the  motion  picture 
and  the  radio  quiz  program. 

Staging  a  Moviquiz  party  is  easy.  Simply 
rent  or  buy  one  or  more  Bell  &  Howell  Movi- 
quiz  Films  from  your  Filmo  dealer.  Get  the 
MoTiquiz  Kit  (25c)  for  each  film.  It  con- 
tains rules,  quiz  sheets,  and  answers.  Ask 
each  player  to  indicate  the  correct  answers 
to  the  quiz  sheet  questions.  Then  show  the 
film,  in  which  the  answers  will  be  found. 
Afterward,  grade  the  papers  and,  if  you 
wish,  award  prizes  or  require  losers  to  en- 
tertain winners  in  amusing  ways. 

Moviquiz  Films  cover  a  diversity  of  inter- 
esting subjects,  some  of  which  are  listed 
here.  For  complete  details,  see  your  Filmo 
dealer  or  send  the  coupon. 


BELL  &  HOVTELL  COMPANY 
Chicago;  New  York;  Hollywood; 
Washington,  D.  C;  Londoo 
EtUhliibtd  1907 


BELL  &  HOWELL  COMPANY 

1825  Larchmont  Ave.,  Chicago,  111. 

Please  send  complete  details  about:  (  ) 

8mm.  projectors;   (  )   Moviquiz  Films; 

(  )  Filmosounds. 

Send  catalog  on:  (  )  recreational;  (  ) 

educational;  (  )  religious  films.  I  own 

silent  projector  of  make. 

sound 

Same  

Address  

C-'ly ^'"'f  •  •  •  •  HM  4-42 


LARGEST  CIRCULATION  OF  ANY  AMATEUR  MOVIE  MAGAZINE! 


WINGS  NAVY 


No.  625-C 

die  bombing,  climaxed  with  actual  bombmg  shots. 

Approx.   400  Ft.    16mm  S.lent 

"  ■•NAVY  rtVE«S-'-N«„627-B^_  ^  

Approx.  200  Ft.  I6mn,.  Silent  $6.00 
Approx.  100  Ft.   lemm.  Silent  $3.00 


// 


BOSKO 


Now  available  for  the  first  time  are  the 
popi'lar  animated  cartoons  produced  by 
Hugh  Harmon  and  featuring  the  lovable 
Bosko'  and  his  pals.  Be  the  first  to  get 
the  first  two  releases  in  this  special  series 
of  home  movie  films. 

No.  1802-A— BOSKOS  PHOTO  FINISH 
No.    1804-A— BOSKOS    BEAR  ESCAPE 

Approx.  100  Ft.  16mm.,  $3.00 
Approx.     50  Ft.    8mm.,  1.50 

Watch  for  tiew  Bosko  cartoon  releases 
next  month! 


lEW! 

8mm  and  I6mm 
movies  .  .  . 


Y 


jumpers'",/ ^ 

p  No.  626-C 

guiding  him.Mf        leaving    ,h  ^  ■'"'"p- 
shows  masT       to  a  safe  lan^^ 
fessiona?  .     i'.^'-.achute  /umps  '"5' 
edited  by  '"'nPing  '    Cot,  ^^"^  Pho- 

tographer. ^"^'^  Oyer'  ace  Ten'il'^  t^^^ 
^-0'.  400  r, 

^oprox.  pf'-    'Smn,.  Silent-.,,, 

Special  ck   .  omm.  ■*'i.uo 

avanlh.     "'■^  ^^'■sion  of  th  ^  ^0 

—  1.50 


2  NEW  FILMS 

featuring 

DONALD  DUCK 

By  special  arranp-ement  with  Walt  Dis- 
ney, we  are  now  able  to  present  a  com- 
plete new  series  of  late  Donald  Duck 
animated  cartoons.  First  two  for  May 
release   feature   Donald   Duck   as  a 
Spanish    troubador    in    love  with 
Daisy  Duck: 

DONALD  S  MEXICAN  ROMANCE 

No.  14.->--B 


Approx.  200 
Approx.  1*10 


Ft. 
Ft. 


16mm.— S6. 00 
8mm.—  3.00 


DONALD'S   SPANISH  SERENADE 

No.    1361 -A 


Approx.  100 
Approx.  50 


16mm. — .S3. 00 
8mm. —  1.30 


Watch  for  New  Donald  Duck  releases 
next  month! 


HOLLYWOOD  FILM  EHTERPRISES,  INC. 

6060   SUNSET   BOULEVARD  •  HOLLYWOOD,  CALIF 


A.  K.  BAUMGARDNER 

Peoria  Cinema  Club 


/DVISORY  EDITORS 

F  ER  BEZEK 

Chicago  Cinema  Club 

S  lAMES  BIALSON 

Amateur  KAofion  Picture  Club  of  St.  Louis 

^OSS  BROWN 

Dallas  Cinema  Club 

LTER  BRACKEN 

The  8-16  Movie  Club,  Philadelphia,  Pa. 

kUDE  W.  A.  CADARETTE 

Los  Angeles  8mm  Club 

EMERSON  CLYMA 

Detroit  Society  of  Cinematographei* 

SELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

IIL  DVORAK 

Suburban  Amateur  Movie  Club 

HUR  E.  GIBBS 

Portland  Cine  Club 

r  A.  HOOK 

SeaHle  8mm  Club 

RED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

NESTELL 

Cinemen  Club 

^CISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

BERT  B.  PETERSON 

Metropolitan  Cine  Club 

VIE  RIEBETH 

Minneapolis  Cine  Club 

FHEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

'AUL  SNYDER, 

Norfolk  Amateur  Movie  Club 

D  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 

t  F.  SISSEL 

Austin  Movie  Club 

C.  ENION  SMITH 

Metro  Movie  Club  of  Chicago 


:.s  Second-Class  Matter,  May  6,  1938.  at, 
fflce  at  Los  Angeles,  Calif.,  under  the  ; 

Act  of  March  3,  1879. 
on  rates:  U.  S.  $2.00  per  year.   Canada  J 
sign    Countries,    $3.00    per   year.  Single 
i  25c.    Canadian  and  Foreign  single  copies  j 
Copyright,  1940,  by  Ver  Halen  Publications. 
I     Advertising   rates  on   application.  ^ 


V 


.  nome  

MOYIES 


Reg.  U.  S.  Pat.  Off. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.  Price  25c  per  copy  in 
U.  S.  No  part  of  magazine  may  be  reprinted  without 
specific  permisnon. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  MAY,  1942 

DEFENSE    FILMING    ACTIVITIES   1/8 

INFORMATION     PLEASE   l8o 

THE   READER   SPEAKS   1 82 

ANIMATION  FOR  AMATEUR  DEFENSE  FILMS  By  Clirth  RatlddL...  l8j 

DIFFUSION  WHAT  IT  IS  AND  WHEN  TO  USE  IT 

— By  George  W.  Cushman  i86 

AMATEUR-PRODUCED  FILMS  TO  AID  U.  S.  IN  FOREST  CONSERVATION 

— By  Jack  Irwhi  187 

WHAT  BEGINNER  SHOULD  KNOW  ABOUT  CAMERA  SPEEDS 

— By  Stanley  E.  Andrews  188 

SCENARIO  FOR  TWO  PEOPLE,  A  CAT  AND  CANARY 

—By  Walter  Hoffman  189 
NOW  let's  try  OUR  FIRST  TRICK  film! — By  George  A.  Gauld^   190 

HOW  TO  MAKE  FADE-INS  AND  FADE-OUTS   I9I 

AMATEUR  "ORSON  WELLES"  FILMS  OLIVER  TWIST 

— By  J.  H.  Schoen  192 
SOUND  RECORDING  FOR  HOME  MOVIES — By  Arch  B.  Sundcrs   193 

EXPERIMENTAL    CINE    WORKSHOP   1 94 

ITS  NEW  TO  ME — By  Ctnebug  Shopper   196 

IF  YOU  WANT  A  FILM  TO  SHOW   1 98 

FILM    EMULSION    RATING    CHART    200 

WITH   THE   REEL   FELLOWS   2o8 

REVIEWS  OF  AMATEUR  FILMS  By  J.  H.  SchoeU   212 

TITLE  TROUBLES — By  George  W.  Cushtnan   21  j 

HOME  MOVIE  TITLES — By  Edmund  Turner   215 


CHAS.  |.  Ver  HALEN 

PUBLISHER 


C.  |.  Ver  HALEN,  |R. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


•  Use  your  camera  to  prevent 
forest  fires.  See  page  iSj. 


M 


NUMBER  5 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
).  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S      MAGAZINE      FOR      THE      MOVIE  AMATEUR 


PAGE  178 


HOME  MOVIES  FOR  MAY 


Ptoject    Ifout  Pictutai 
^  GLASS -BEADED 

SCREEN 


ON 
A 


Res  U.  S.  Pat.  Off. 


EVERYONE  "sits  up  .and  takes  notice" 
when  you  start  showing  your  home 
movies  and  color  slides  on  a  Da- Lite 
Glass- Beaded  Screen.  Its  specially  pro- 
cessed surface  sharpens  details  and  adds 
breath-taking  realism  to  every  scene.  The 
fabric  is  specially  processed  to  stay  white 
and  pliable.  Because  dust  and  dirt  accumu- 
late on  any  screen  over  a  period  of  years, 
Da-Lite  does  not  give  a  life-time  guaran- 
tee of  permanent  whiteness,  for  to  do  so 
would  be  meanineless.  This  famous  Glass- 
Beaded  fabric,  the  result  of  Da-Lite's  ■\\ 
years  of  screen  manufacturing  experience, 
is  available  in: 

9    CONVENIENT  MOUNTINGS 

includine  the  Da-Lite  Challenger  shown 
above.  Although  widely  imitated,  the  Chal- 
lenger remains  unchallenged  for  its  ease  of 
ooeration  and  sturdy,  rigid  construction. 
The  Challenger  is  the  first  and  only 
screen  with  square  tubing  in  tripod  and 
extension  rod  that  can  be  raised  to  desired 
height  in  one  operation,  without  requiring 
separate  adjustments  of  case  or  fabric  to 
maintain  correct  screen  proportions. 
Ask  for  a  demonstration  at  your  dealer's 
today  and  you  will  understand  why  a  re- 
cent survey  by  a  leading  photographic 
magazine  shows  that  its  readers  oun  more 
Da-Lite  Screens  than  all  other  makes  com- 
bined. Write  for  literature. 

DA-LITE  SCREEN  CO.,  INC. 

Dept.  3HM,    2715  No.  Crawford  Avenue,  Chicago,  Illinois 


filming,  activities  .  .  . 


As  yet,  the  government  has  not 
sought  services  of  the  amateur  nor  of 
amateur  groups  in  producing  Defense 
films.  The  opportunity  to  aid  the  gov- 
ernment in  producing  amateur  films  on 
this  topic  exists,  however,  and  the  vol- 
untary making  of  such  films  by  capable 
movie  amateurs  is  not  discouraged  by 
the  government. 

The  government  is  well  equipped  to 
turn  out  the  films  necessary  for  in- 
structing civilians  in  home  defense. 
Their  product  may  be  somewhat  slow  in 
reaching  the  screen  and  for  this  reason, 
amateur  produced  pictures  present  real 
opportunity  to  get  vital  facts  before  the 
public  now — before  real  danger  is  upon 
us.  Whatever  films  may  follow  will  not 
be  superfluous.  On  the  contrary,  they 
will  drive  home  the  information  and 
procedure  introduced  in  films  which 
preceded  them.  In  short,  there  cannot 
be  too  many  authentic  films  on  the  sub- 
ject of  home  and  civilian  defense. 

The  most  important  thing  to  be  re- 
membered is  that  before  embarking  up- 
on the  production  of  a  defense  film,  yes 
even  before  planning  one,  the  local  Of- 
fice of  Civilian  Defense  should  be  con- 
sulted and  their  advice  sought  on  the 
type  of  film  most  suitable  for  that  re- 
spective area.  No  sane  O.  C.  D.  board 
will  discourage  any  amateur  defense 
filming  project  once  they  are  assured 
the  producers  are  capable. 

But  we  do  not  believe  there  is  any 
need  to  clutter  up  defense  effort  by  the 
delaying  action  of  filling  out  forms  and 
enlisting  with  unauthorized  agencies. 
Home  Movies  does  not  ask  your  en- 
listment. We  freely  encourage  every 
capable  filmer  to  go  all  out  in  the  pro- 
duction of  authentic  defense  films,  and 
will  assist  to  the  extent  of  our  capabili- 
ties in  advising  amateurs  so  interested. 
We're  for  cutting  all  red  tape  and  tlie 
elimination  of  bottle  necks  in  this  vital 
defense  movement. 

New  Development's 

As  we  go  to  press,  government  Film 
Coordinator  Lowell  Mellett  is  in  Hol- 
lywood to  bring  about  closer  coopera- 
tion between  the  motion  picture  indus- 
try and  the  government,  with  the  ob- 
ject of  stepping  up  production  of  de- 
fense films  now  under  way  there. 

Before  Mellett  returns  to  Washing- 
ton, it  is  likely  he  will  also  obtain  a 
clearer  picture  of  the  vast  possibilities 


that  lie  in  the  amateur  motion  picture 
as  a  means  of  aiding  in  the  civilian  de- 
fense program. 

Current  survey  of  available  i6mm. 
sound  projectors  has  revealed  a  vast,  as 
yet  untapped,  educational  medium 
waiting  only  for  a  steady  flow  of  i6mm. 
defense  films  to  make  its  force  effective. 

That  the  average  serious  i6mm.  am- 
ateur filmer  can  produce  highly  satis- 
factory silent  defense  films  has  already 
been  demonstrated  by  such  groups  of 
amateurs  as  the  Long  Beach  Cinema 
Club,  and  the  Linden  (N.  J.)  Cinema 
Club  whose  recent  film,  "Air  Raid" 
received  plaudits  of  the  Civilian  De- 
fense Council  of  that  city. 

The  forte  of  the  i6mm.  film  is  its 
low  cost  and  specialization.  Films  can 
be  made  and  shown  to  small  neighbor- 
hood audiences  in  the  auditoriums  of 
public  schools  and  libraries.  And,  in  the 
case  of  films  produced  locally  with 
home  talent,  they  frequently  attract  a 
wider  audience  than  professionally  pro- 
duced films. 

Amateurs  may  definitely  look  for- 
ward to  important  developments  re- 
garding amateur  motion  pictures  as  a 
civilian  defense  medium  in  the  very 
near  future. 

Louisville  Active 

The  Louisville  (Ky.)  Cine  Club  has 
received  an  assignment  from  their  local 
defense  council  to  produce  a  Civilian 
Defense  film  running  i6oo  feet  in  Ko- 
dachrome  with  the  possible  addition  of 
narrative  sound  track.  Also  they  have 
been  requested  to  consider  producing  a 
number  of  shorts  on  the  same  subject. 

The  assignment  has  assumed  such  im- 
portance that  Harold  Rhodenbaugh, 
club  president,  is  seeking  Auricon 
equipment  for  the  next  production, 
plans  to  shoot  all  future  films  in  sound. 

Los  Angeles 

Recognizing  the  value  of  motion  pic- 
tures as  a  means  of  educating  the  pub- 
lic on  civilian  defense,  the  Los  Angeles 
Citv  Defense  Council,  of  which  Mayor 
Fletcher  Bowron  is  chairman,  is  organ- 
izing a  1 6mm.  Film  Bureau  which  will 
handle  this  phase  of  it's  public  relations 
program. 

Purpose  of  the  i6mm.  Film  Bureau 
will  be  to  act  as  a  clearing  house  for 
motion  pictures  urgently  needed  by  de- 
•  Continued  on  Page  214 


33  yecM 


HOME  MOVIES  FOR  MAY 


PACE  1 


see  M-^f  rsta«  •  •  •  ^^l^  ot  ^  „ovie  reco 


Td  to 


in  as 
treasure  fot  ^ 


"J.  the  g^o^^^^.^  Then  A^^' 


,ttaUa\ 


static  record 


b\ov^t^ 


3^yv/ards. 


^^^utt  oT  ciest-ct--^,eds^^  Firesl  B.P 
^^'^'•ftorr.es  blasted- 
Fragile  horx^^^^ 


less        "    ,  -The  P^^' 


ruelty 


that  every 
should  ov^tv. 


Amerr- 


arc 


a\so 


aled. 


ON  SALE  AT  YOUR 
PHOTO  DEALER- OR 
SEND  THIS  HANDY 
ORDER  FORM 
TO  HIM 


p....  ORDER  FORM  --- 


— n 


RCA  BLDG.   FIELD  BLDG.      RUSS  BLDG. 
NEW  YORK     CHICAGO     SAN  FRANCISCO 


I 
I 
I 
I 

I. 


50  ft.,  8min  .  .  . 
180  ft.,  8mm  .  .  . 
100  ft.,  16mm  .  . 
360  ft.,  16mm  .  . 
350  ft.,  I6mm  sound 


$1.75  □  Send  Castle  Films'  "MacArthur— America's 

^  First  Soldier"  and  "Manila  Bombed"  (both 

I  I  in  the  same  film)  in  the  size  and  length  checked. 

$2.75  □ 


Name^ 


.  $8.75  □ 
$17.50  □  ^d"^-' 


Remittance  enclosed  herewith  □  Ship  C.  0.  D.  □  cuy^ 


Copr.  1942  Castle  Filn 


PACE  180 


HOME  MOVIES  FOR  MAY 


announcing/ 

Auricon 

SOUND 
CAMERA 

for  16  mm  sound  -  on  -  film 


•k  Simplified  Threading 

•k  High  Fidelity  Sound 

if  Self-contained  in  sound  proof  "blimp." 

•k  Minimum  equipment;  maximum  portabil- 
ity. Camera  and  Amplifier,  complete, 
weigh  only  thiity-seven  pounds. 

•k  Kodachrome  or  black  and  white  pictures 
with  Auricon  sound  track  will  reproduce 
on  any  sound-film  projector. 

ir  Synchronous  electric  motor  driven. 

:Ar  Can  be  operated  in  the  field  from  an 
Auricon  Portable  Power  Supply. 

•k  Daylight  loading  spools  with  200-foot  film 
capacity. 

Auricon  Camera  with  type  "C"  lens  mount 
(but  without  lens)  and  Amplifier  complete 
with  microphone,  instructions,  and  cases 

S880.00 


AUR/CON  16  mm  RECORDER 

•k  Variable-area  sound  on  film,  for  double 
system  recording  with  a  synchronous  motor 
driven  16  mm.  camera.  Amplifier  has  back- 
ground-noise reduction  and  mixers  for  com- 
bining speech  and  music.  With  dynamic 
microphone,  instructions  and  cases  for  Re- 
corder, Amplifier,  Accessories  ....  S695.00 

Ask  your  Dealer,  or  write  today 
for  free  descriptive  booklet. 

AURICON  2>uud^, 
E.  M.  BERNDT  CORP. 

SS15  SUNSET  BLVD.,  HOLLYWOOD,  CALIF. 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


information  mm 


Patch  Splice  (C.  A.  Benson,  Luding- 
ton,  Mich.) 

Q.  I  me  a  Keystone  DeLuxe  patch 
splicer  but  find  that  when  splices  go 
through  my  projector,  the  image  is 
temporarily  out  of  focus.  Is  this  com- 
mon to  all  splices  or  just  to  the  patch 
splice? 

A.  If  you  have  regularly  followed  this 
column,  you  have  noted  other  com- 
plaints from  readers  experiencing  this 
trouble.  In  each  instance  different  spli- 
cers were  used  in  joining  the  film.  The 
fault  lies  not  with  the  splicer  nor  the 
type  of  splice  but  in  the  projector  used 
in  screening  the  film,  or  more  specifical- 
ly— the  film  gate  in  the  projector. 

Projectors  may  be  divided  into  two 
classifications:  those  with  film  gates  in 
which  pressure  against  the  film  is  to- 
ward the  lens,  and  those  in  which  pres- 
sure against  film  is  toward  the  lamp 
house.  With  the  latter,  any  curl  in  the 
film  or  a  bulky  splice  tends  to  push  the 
film  momentarily  away  from  its  estab- 
lished plane  of  travel  and  toward  the 
lens,  as  it  passes  through  film  gate.  This 
causes  the  film  to  travel  on  a  plane  out 
of  the  sharp-focus  range. 

With  the  opposite  type  of  film  gate, 
curl,  bulky  splice,  or  other  obstructions 
merely  push  the  film  gate  open  momen- 
tarily. The  film  is  not  disturbed  from 
its  established  plane  of  travel  before  the 
lens  and  consequently  remains  in  sharp 
focus. 

We  are  not  familiar  with  the  splice 
made  by  the  splicer  you  mention;  but  if 
the  patch  causes  the  film  to  move  out 
and  away  from  the  lens  as  it  passes 
through  gate  of  your  projector,  then 
the  splice  is  the  root  of  your  trouble. 

Telephoto  Shots  (G.  H.  Santell,  Mil- 
waukee, Wise.) 

O.  In  attempting  to  shoot  birds  and 
wildlife  with  a  telephofo-ecpiippcd  cam- 
era, I  find  it  difficult  to  stick  to  the  rule 
"always  use  a  tripod  for  telephoto 
shots."  When  you  get  among  trees  and 
branches,  a  tripod  is  simply  just  so  much 
excess  baggage.  What  do  you  suggest  as 
a  substitute? 

A.  It  is  almost  impossible  to  secure 
absolute  "steady"  shots  with  a  telephoto 
lens  unless  camera  is  mounted  on  tri- 
pod or  other  sturdy  support.  Without 
your  tripod,  you  might  try  holding 
camera  securely  against  a  tree  or  upon 
a  rock  or  tree  stump.  Then  there  is  a 
handy  gadget  called  a  Unipod — a  one- 
legged  collapsible  tripod  which  offers  a 
solution  for  this  type  of  filming. 


•  Readers:  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


Fixed  Focus  (Dale  Gregory,  Ypsilan- 
ti,  Mich.) 

Q.  How  can  I  set  my  3"  telephoto 
lens  for  fixed  focus? 

A.  You  can't.  Focusing  with  a  tele- 
photo must  be  very  critical.  If  you  are 
having  trouble  estimating  distance,  why 
not  purchase  one  of  the  popular  priced 
range  finders?  This  may  be  used  either 
handheld  or  attached  to  camera  and 
will  give  quick,  accurate  readings. 

Fuse  Blower  (J.  M.  Randally,  Little- 
ton, Colo.) 

Q.  In  shooting  interiors  with  the  aid 
of  Photofloods,  I'm  forever  blowing 
fuses.  No  doubt  this  is  due  to  overload- 
ing of  circuit,  but  how  can  I  determine 
just  how  many  Photofloods  our  house- 
wiring  will  stand? 

A.  One  way  to  avoid  blowing  fuses  is 
to  keep  all  other  house  lights  extin- 
guished while  the  Photofloods  are  on.  As 
a  rule,  as  many  as  six  No.  i  Photofloods 
may  safely  be  used  on  one  regular  house- 
lighting  circuit.  Temporary  heavier  fus- 
ing of  the  particular  circuit  used  will 
prevent  fuse-blowing  trouble  in  the 
middle  of  a  scene;  but  such  fuses  should 
be  removed  and  replaced  with  the  regu- 
lar plugs  when  shooting  is  over. 

Another  tip  is:  always  keep  a  few  ex- 
tra fuses  on  hand.  Also,  you  can  rig  up 
a  separate  fuse  block  for  your  photo- 
floods. Run  your  feed  line  into  the  block 
and  plug  in  your  extension  cords.  Thus, 
additional  fuses  will  then  operate  ahead 
of  your  regular  house  fuses,  checking 
any  overload  that  may  occur  from  Pho- 
tofloods and  without  extinguishing 
lights  in  other  rooms  of  your  home. 

Title   Centering    (M.   J.  Meredith, 

Hutchinson,  Kansas.) 

O.  I  recently  followed  a  suggestion 
for  centering  viy  camera  with  title  by 
shooting  straight  down  and  lining  up 
my  camera  lens  by  means  of  a  plumb 
bob  attached  to  the  lens.  Houeier,  my 
titles  were  decidedly  off  center.  What 
caused  this? 

A.  Using  the  plumb  bob  alone  is  not 
•  Continued  on  Page  19J 


MAGAZINE 


Subscription 
Order  Form 


"BiU  brought  his  Revere 
and  we  re  going  to  take  Movies! " 


FOR  TOP  ENTERTAINMENT  AT  LOW  COST 

"Take  -lioine  Aiovlei 


ilEVERE  MODEL  88  CAMERA 

akes  all  standard  double  8mm.  film.  Easy 
0  load  and  to  operate.  Eastman-licensed 
Dool  and  spindle.  5  speeds.  Revere  recipro- 
ating  sprocket  film  control.  Precision  mech- 
nism.  Built-in  optical  view-finder,  correct- 
d  for  parallax.  Complete  with  Wollensak 
3.5  lens,  $38.50. 


MODEL  99 

las  the  same  basic  fea- 
jres  as  Model  88  plus  a 
stating  turret  head  for  3 
j:rew-type    lenses,  and 
>  Ktra  optical  view  finder 
•  IX   use   with  telephoto 
i  ^ns.  Complete  with  one 
^l(/ollensak  F  2.5 
ns    $77.50 


CAMERA 

With  a  Revere  8mm.  Camera  you  can  take 
movies  of  your  good  times  in  black-and-white 
or  brilhant  natural  colors  as  easily  as  you  now 
take  snapshots.  Ac f ion  scenes  (not  posed  stills) 
cost  about  IOC  each — fully  processed,  ready  to 
show.  What  finer  way  is  there  to  record  the 
visits  of  Service  Men  on  leave,  your  chil- 
dren's birthday  parties,  and  other  happy 
events?  And  what  a  thrill  you  and  your 
friends  will  get  when  they  see  these  action 
movies. 

The  Revere  Camera,  with  its  5  speeds, 
fast  lens,  exclusive  reciprocating  sprocket 
film  control  for  steady,  sharp  movies  and 
many  other  advantages,  is  so  simple  to  use 
that  even  the  beginner  can  get  good  mov- 
ies with  it.  Ask  your  dealer  about  preci- 
sion-built Revere  8mm.  Cameras  and 
Projectors.  Write  for  literature.  Revere 
Camera  Company,  Dept.  5HM,  320 
E.  21st  St.,  Chicago,  Illinois. 


Thrilling  to  Show  with  a 
REVERE  PROJECTOR 

Next  to  the  excitement  and  fun  of  taking 
movies  is  the  thrill  of  seeing  them  projected 
on  your  home  screen  with  a  Revere  Projector. 
This  powerful  equipment  excels  in  features 
essential  to  brilliant  pictures,  smooth  opera- 
tion and  dependable  performance. 

MODEL  80   (Illustrated  below) 


Heavy  duty  AC-DC  motor. 

Double  blower  cooling  sys- 
tem for  lamp  and  film.  En- 
closed precision  mechanism 
(no  belts).  Fast  power  re- 
wind. Manual  clutch  tor 
stills.  Radio  interference 
eliminator.  Complete  with 
long-life  500  watt  lamp. 
F  l.B  lens  and  1  f\f\ 
300-ft.  reel   :>/3.UU 


MODEL  85 

Has  the  same  features  as 
the  "80"  plus  duo-shield 
lignt  diffuser,  micro-tilt, 
beam  threading  light  and 
carrying  case.  Complete  with 
"lOO-watt  lamp.  F  1.6  lens, 
une  300-ft.  reel  t-nn  cn 
and   case   :>8V.3W 


Revere 


★*★★ ★★★*★★ **★★ *★★★ *★** ★*** 

J^Ujf  U.  S.  DEFENSE  SAVINGS 
BONDS  AND  STAMPS  Mot4r/ 
★★★*  *★★★  ★★★*  ★**★  ****  **** 


PACE  182 


HOME  MOVIES  FOR  MAY 


The  Reader 


Captain  Charlton  L.  Smith.   Master  Mariner, 
Marblehead.  Majs.  Taken  with  a  50-mm.  F3.5 
"miniature,"  on  fast  pan  film — no  filter. 


A  shot  like  this  may  come  to  an  amateur 
photographer  only  once  in  a  lifetime. 
This  one  popped  up  during  a  squall, 
when  exposures  are  tricky.  So  this 
amateur  made  sure  of  his  shot!  Here's 
his  story: 

"Close-up  exposure  meter  readings  on 
the  subject  were  next  to  impossible. 
But  I  hung  on  with  one  hand,  while 
with  the  other  I  took  readings  with  my 
G-E  meter.  I  set  my  camera  as  the 
meter  indicated— 1  200  at  F/8 — and 
shot,  one-handed. 

"Maybe  I  was  lucky;  but  I  am  sure 
that  the  G-E  exposure  meter,  with  its 
simple  one-hand  operation  and  narrow 
field  of  view,  was  largely  responsible 
for  my  getting  this  picture." 

Get  the  G-E  ex- 
posure meter  and 
get  more  out  of 
your  movies.  See 
it  at  good  photo 
dealers.  General 
Electric  Company, 
Schenectady,  N.  Y. 


$22" 

Federal  tax  included 


GENERAL 


Wanted 

//  you  have  tmilt  or  have  plans  for  a 
wind  back  for  a  model  4  Victor  camera, 
this  reader  wotild  like  to  hear  from  you. 

Dear  Editor:  I  am  interested  in  build- 
ing a  windback  for  my  model  4  Victor 
camera.  If  any  readers  of  HOME  MOV- 
IES have  been  successful  in  designing  or 
building  such  a  gadget,  I  would  appre- 
ciate hearing  from  them.  In  return  for 
workable  plans,  I'll  be  glad  to  recipro- 
acte  by  filming  "desired  footage  on  any 
subject  in  and  about  New  York  City. 

— Ma/ty  Friedman, 
7936  Daly  Aic, 
Bronx,  N.  Y. 

Film  vs.  Focus 

Ever  since  ue  published  the  first  read- 
er's letter  on  the  subject  of  positive  film 
titles  for  Kodachrome  movies  and  the 
out-of-focus  effects  that  often  result 
where  the  two  films  are  spliced  togeth- 
er, considerable  interest  in  this  subject 
has  been  evinced  by  readers  who  have 
written  the  editors  giving  their  version 
of  or  cure  for  the  trouble.  Here's  an  in- 
teresting letter  with  a  totally  different 
view  on  the  matter: 

Dear  Sirs:  I  have  been  following,  with 
considerable  interest,  the  various  discus- 
sions regarding  the  use  of  positive  stock 
in  making  titles  to  be  spliced  in  with 
Kodachrome  film,  and  I'd  like  to  add  my 
findings  on  the  subject. 

The  general  opinion  seems  to  be  that 
the  out-of-focus  effect  is  due  primarily 
to  the  difference  in  thickness  of  the 
emulsion  on  the  positive  stock  as  com- 
pared to  the  Kodachrome,  while  others 
blame  the  curl  of  the  film  for  their  woes. 
I  agree  that  newly  processed  positive 
stock  may  have  a  decided  curl  until  it 
has  been  on  the  roll  for  a  few  days,  but 
not  after  that.  I  do  not  agree  that  the 
difference  in  emulsion  thicknesses  is  an 
important  contributing  factor,  since  I 
have  never  been  able  to  detect  more 
than  a  few  ten  thousandths  of  an  inch 
difference  between  the  two  films.  For 
this  reason,  I  started  off  on  a  new  angle 
a  couple  of  years  ago,  and  have  solved 
the  problem  to  my  satisfaction,  and  no 
longer  have  this  trouble. 

A  study  of  different  colors  of  light 
reveals  that  each  color  has  a  different 
wavelength,  and  that  each  is  affected  to 
a  greater  or  lesser  degree  by  the  glass  in 
the  lens.  In  other  words,  it  is  never  pos- 
sible to  focus  all  colors  sharply  without 
the  use  of  a  lens  which  is  completely 


SPEAKS 


corrected  for  all  visible  colors.  Such  a 
lens  would  be  costly  indeed  for  projec- 
tors, although  they  are  available  and 
are  standard  equipment  on  most  high 
grade  movie  cameras  of  today. 

I  think  that  Mr.  Shields,  whose  letter 
you  published  in  the  March  issue,  came 
the  nearest  to  the  real  solution  of  the 
problem;  but  I  believe  that  he  will  be 
even  more  successful  if  he  will  use  reg- 
ular toners  instead  of  Tintex  or  dye  for 
coloring  his  positive  film  stock.  A  Green 
toner  used  on  amber  base  positive  gives 
exceptionally  pleasing  results.  It  con- 
verts the  film  to  two-color  stock,  pro- 
viding duo-toned  titles  which  are  espe- 
cially complimentary  to  Kodachrome 
scenes. 

— James  A.  Whitaker, 
West  Engleuood,  N.  J. 

Flower  Data 

This  is  the  time  of  year  many  ama- 
teurs resume  their  interest  in  filming 
flowers  in  color.  Interest  is  growing  in 
making  time -lapse  movies  of  flowers  in 
the  process  of  bursting  into  bloom.  This 
reader's  letter  lists  a  number  of  flowers 
affording  excellent  subjects  for  time- 
lapse  photography: 

Gentlemen:  Thought  you  might  like 
some  information  I've  compiled  regard- 
ing flowers  suitable  as  subjects  for  time- 
lapse  photography,  flowers  which  open 
"visibly"  or  fairly  rapidly,  affording  op- 
portunity to  capture  this  phenomena  on 
film  with  a  camera  controlled  for  pe- 
riodic exposure  by  special  mechanism 
easily  built  by  any  amateur: 

All  morning  glories — including  the 
moon  flower,  Bona  Nox  or  Night  Glor\' 
which  opens  only  at  night.  TTie  latter 
blooms  in  the  summer  time  exuding  a 
delightful  perfume.  They  may  be  picked 
and  brought  into  the  house  after  6  p.  m. 
and  one  may  watch  them  unfold  while 
eating  dinner. 

The  South  African  Gazamies  and  the 
Arctotis — both  ver}'  attractive  even 
closed. 

The  Ofalis — another  sleepy  flower. 
Does  not  even  try  to  open  on  sunless 
days. 

The  Dimorphotecas  —  native  of  So. 
Africa  and  offer  an  abundance  of  color 
for  Kodachrome  filming. 

Water  Lilies — most  all  varieties  close 
and  "go  to  sleep"  at  night. 

Four  O'Clocks  —  get  tired  early. 
You'll  have  to  work  fast  to  catch  them 
with  your  camera. 

•  Continued  on  Page  214 


HOME  MOVIES  FOR  MAY 


PAGE  183 


HOME  MOVIES  SimStRIPTIOI  HM 

mm  IIP,  mi  nun  still  time 

FOR  THE  FIRST  time  since  its  inception,  Home  Movies  is  forced  to  raise  its 
subscription  price — to  $2.50.  The  rising  costs  of  every  publication  element — 
from  type  metal  to  mixing  inks — make  the  reason  obvious.  For  your  benefit,  the 
increase  has  been  forestalled  until  June  i.  Until  then,  send  in  as  many  subscriptions 
as  you  like,  for  as  long  a  term  as  you  like — new  or  renewal — at  the  old  rate  of 
$2.00  a  year.  But  do  it  this  week,  today,  now!  Merely  state  your  wishes  in  accord- 
ance with  your  enclosed  check — addressed  to  .  .  . 

HOME  MOVIES 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIFORNIA 


PACE  182 


HOME  MOVIES  FOR  MAY 


The  Reader 


SPEAKS 


Captain  Charlton  L.  Smith.   Master  Mariner, 
Marblehead.  Mass.  Taken  with  a  50-mm.  F3.5 
"miniature."  on  fast  pan  film — no  filter. 

A  shot  lil^e  this  may  come  to  an  amateur 
photographer  only  once  in  a  Hfetime. 
This  one  popped  up  durmg  a  squall, 
when  exposures  are  tricky.  So  this 
amateur  made  sure  of  his  shot!  Here's 
his  story: 

"Close-up  exposure  meter  readings  on 
the  subject  were  next  to  impossible. 
But  I  hung  on  with  one  hand,  while 
with  the  other  I  took  readings  with  my 
G-E  meter.  I  set  my  camera  as  the 
meter  indicated— 1/200  at  F/8— and 
shot,  one-handed. 

"Maybe  I  was  lucky;  but  I  am  sure 
that  the  G-E  exposure  meter,  with  its 
simple  one-hand  operation  and  narrow 
field  of  view,  was  largely  responsible 
for  my  getting  this  picture." 

Get  the  G-E  ex- 
posure meter  and 


Wanted 

//  you  have  iniilt  or  have  plans  for  a 
windback  for  a  model  4  Victor  camera, 
this  reader  would  like  to  hear  from  yon. 

Dear  Editor:  I  am  interested  in  build- 
ing a  windback  for  my  model  4  Victor 
camera.  If  any  readers  of  HOME  MOV- 
IES have  been  successful  in  designing  or 
building  such  a  gadget,  I  would  appre- 
ciate hearing  from  them.  In  return  for 
workable  plans,  I'll  be  glad  to  recipro- 
acte  by  filming  'desired  footage  on  any 
subject  in  and  about  New  York  City. 

— Matty  Friedman, 
I9}6  Daly  Aic, 
Bronx,  N.  Y. 

Film  vs.  Focus 

Ever  since  we  published  the  first  read- 
er's letter  on  the  subject  of  positive  film 
titles  for  Kodachrome  movies  and  the 
out-of -focus  effects  that  often  result 
where  the  two  films  are  spliced  togeth- 
er, considerable  interest  in  this  subject 
has  been  eiinced  by  readers  who  have 
written  the  editors  giving  their  version 
of  or  cure  for  the  trouble.  Here's  an  in- 
teresting letter  with  a  totally  different 
view  on  the  matter: 

Dear  Sirs:  I  have  been  following,  with 
considerable  interest,  the  various  discus- 
sions regarding  the  use  of  positive  stock 
in  making  titles  to  be  spliced  in  with 
Kodachrome  film,  and  I'd  like  to  add  my 
findings  on  the  subject. 

The  general  opinion  seems  to  be  that 
the  out-of-focus  effect  is  due  primarily 
to  the  difference  in  thickness  of  the 
emulsion  on  the  positive  stock  as  com- 
pared to  the  Kodachrome,  while  others 
blame  the  curl  of  the  film  for  their  woes. 
I  agree  that  newly  processed  positive 
stock  may  have  a  decided  curl  until  it 
has  been  on  the  roll  for  a  few  days,  but 
not  after  that.  I  do  not  agree  that  the 
difference  in  emulsion  thicknesses  is  an 
important  contributing  factor,  since  I 
have  never  been  able  to  detect  more 
than  a  few  ten  thousandths  of  an  inch 
difference  between  the  two  films.  For 
this  reason,  I  started  off  on  a  new  angle 
a  couple  of  years  ago,  and  have  solved 
the  problem  to  my  satisfaction,  and  no 
longer  have  this  trouble. 

A  study  of  different  colors  of  light 
reveals  that  each  color  has  a  different 
wavelength,  and  that  each  is  affected  to 
a  greater  or  lesser  degree  by  the  glass  in 
the  lens.  In  other  words,  it  is  never  pos- 
sible to  focus  all  colors  sharply  without 
the  use  of  a  lens  which  is  completely 


corrected  for  all  visible  colors.  Such  a 
lens  would  be  costly  indeed  for  projec- 
tors, although  they  are  available  and 
are  standard  equipment  on  most  high 
grade  movie  cameras  of  today. 

I  think  that  Mr.  Shields,  whose  letter 
you  published  in  the  March  issue,  came 
the  nearest  to  the  real  solution  of  the 
problem;  but  I  believe  that  he  will  be 
even  more  successful  if  he  will  use  reg- 
ular toners  instead  of  Tintex  or  dye  for 
coloring  his  positive  film  stock.  A  Green 
toner  used  on  amber  base  positive  gives 
exceptionally  pleasing  results.  It  con- 
verts the  film  to  two-color  stock,  pro- 
viding duo-toned  titles  which  are  espe- 
cially complimentary  to  Kodachrome 
scenes. 

— James  A.  Whilaker, 
West  Englewood,  N.  J. 

Flower  Data 

This  is  the  time  of  year  many  ama- 
teurs resume  their  interest  in  filming 
flowers  in  color.  Interest  is  growing  in 
making  time-lapse  movies  of  flowers  in 
the  process  of  bursting  into  bloom.  This 
reader's  letter  lists  a  number  of  flowers 
affording  excellent  subjects  for  time- 
lapse  photography: 

Gentlemen:  Thought  you  might  like 
some  information  I've  compiled  regard- 
ing flowers  suitable  as  subjects  for  time- 
lapse  photography,  flowers  which  open 
"visibly"  or  fairly  rapidly,  affording  op- 
portunity to  capture  this  phenomena  on 
film  with  a  camera  controlled  for  pe- 
riodic exposure  by  special  mechanism 
easily  built  by  any  amateur: 

All  morning  glories — including  the 
moon  flower.  Bona  Nox  or  Night  Glory 
which  opens  only  at  night.  The  latter 
blooms  in  the  summer  time  exuding  a 
delightful  perfume.  They  may  be  picked 
and  brought  into  the  house  after  6  p.  m. 
and  one  may  watch  them  unfold  while 
eating  dinner. 

The  South  African  Gazamies  and  the 
Arctotis — both  very  attractive  even 
closed. 

The  Ofalis — another  sleepy  flower. 
Does  not  even  try  to  open  on  sunless 
days. 

The  Dimorphotecas  —  native  of  So. 
Africa  and  offer  an  abundance  of  color 
for  Kodachrome  filming. 

Water  Lilies — most  all  varieties  close 
and  "go  to  sleep"  at  night. 

Four  O'Clocks  —  get  tired  early. 
You'll  have  to  work  fast  to  catch  them 
with  your  camera. 

•  Continued  on  Page  214 


HOME  MOVIES  FOR  MAY 


PAGE  183 


HOME  M\m  mmmm  nm 

urn  UP,  m  THERE'S  STILL  TIME 

FOR  THE  FIRST  time  since  its  inception,  Home  Movies  is  forced  to  raise  its 
subscription  price — to  $2.50.  The  rising  costs  of  every  publication  element — 
from  type  metal  to  mixing  inks — make  the  reason  obvious.  For  your  benefit,  the 
increase  has  been  forestalled  until  June  i.  Until  then,  send  in  as  many  subscriptions 
as  you  like,  for  as  long  a  term  as  you  like — new  or  renewal — at  the  old  rate  of 
$2.00  a  year.  But  do  it  this  week,  today,  now!  Merely  state  your  wishes  in  accord- 
ance with  your  enclosed  check — addressed  to  .  .  . 

HOME  MOVIES 

6060  SUNSET   BOULEVARD  •  HOLLYWOOD,  CALIFORNIA 


When  shooting  a  hu 


nter 


FOR  general  outdoor  work  with 
both  8  and  16mm.  cameras,  Agfa 
Ansco  Panchromatic  Reversible  is  not 
only  an  excellent  choice  but  an  excep- 
tional value. 

Sensitive  to  all  colors,  Panchromatic 
Reversible  gives  you  pleasing  reproduc- 
tion of  color  into  monochrome.  And 
it  has  adequate  speed  for  a  wide  variety 
of  subject  material. 
On  projection,  you  will  appreciate  a 
carefully  balanced  gradation  that  pro- 


duces a  highly  satisfying  screen  bril- 
liance. Fine-grain  characteristics  and  a 
highly  effective  anti-halation  coating 
add  assurance  of  fine  results. 
Both  film  sizes  are  economical.  16mm. 
Panchromatic  Reversible  costs  only 
$4.80  in  100  ft.  rolls  or  $2.95  in  50  ft. 
rolls.  Twin-Eight  Panchromatic  Re- 
versible is  only  $2.15  in  25  ft.  (double- 
width)  rolls.  All  prices  include  process- 
ing and  return  postage.  Agfa  Ansco, 
Binghamton,  New  York. 


Agfa  Ansco 

8  and  16mm. 
PANCHROMATIC 
REVERSIBLE  FILM 

MADE   IN  U.S.A. 

lOO  YEARS  OF 
SERVICE  TO  AMERICAN  PHOTOGRAPHY 


ILMING  of  civilian  defense 
pictures  has  awakened  considerable  in- 
terest in  animation  among  amateurs. 
Many  have  found  need  for  a  brief  se- 
quence of  animated  drawings  that  could 
be  inserted  in  a  defense  film  to  empha- 
size a  point  or  explain  an  operation  or 
some  particular  action  that  would  not 
otherwise  be  clear  when  treated  with 
straight  photography. 

We  refer  not  to  the  animation  of  fig- 
ures a  la  Walt  Disney  but  to  animation 
of  simple  objects,  lines,  maps,  etc.,  an 
innovation  particularly  suitable  to  films 
of  an  instructional  nature.  For  example 
there  are  instances  come  to  our  atten- 
tion where  the  filmer  plans  to  show  the 
progressive  action  of  a  fallen  incendiary 
bomb  by  this  method;  another  will  il- 
lustrate the  proper  locations  about  a 
house  for  placing  buckets  of  sand, 
shovels,  ladders,  and  hose  with  a  draw- 
ing of  a  floor  plan,  and  then  indicating 
upon  it  the  right  and  wrong  locations 
for  these  important  fire-fighting  tools. 
And  there  are  other  examples,  too  nu- 
merous to  outline  here. 

Most  amateur  defense  film  producers 
want  to  do  this  animation  work  them- 
selves, want  their  pictures  to  represent 
1 00%  amateur  effort.  For  some  it  is 
quite  a  task.  For  others,  no  trick  at  all. 
The  difficulty  lies  not  so  much  in  the 
lack  of  ability  with  a  drawing  pen  as 
with  the  lack  of  knowledge  of  the  sim- 
ple tools  with  which  to  do  the  work. 


•  Sketches  show  how  to  build 
camera  stand  for  filming  animated 
movies,  also  illuminated  drawing 
board  for  sketching  and  inking-in 
the  "cells". 

Fig.  3 


BRA/X"  PEGy-^  "APART 
SET  FLU/H  IN  BQARD_ 


•  Fig.  1 — Photographing  "cells"  for  an  animated  cartoon. 

mmim  for 

amateur  delen^e  fllm^ 

By  CURTIS  RANDALL 


The  first  requisite  is  a  cine  camera  cap- 
able of  single-frame  photography,  that 
is,  one  that  will  expose  one  frame  of  film 
at  a  time.  To  attempt  animation — or 
single-frame  exposures — with  any  other 
camera  will  not  be  productive  of  good 
results. 

Then  there  must  be  a  "stage"  on 
which  the  animation  is  to  be  arranged 
and  photographed,  and  this  should  in- 
clude a  bracket  for  holding  the  camera 
firmly  in  place  before  the  drawings  or 
scenes  to  be  photographed.  A  successful 
amateur-built  animation  stage  is  shown 


in  Fig.  z.  Included  are  all  necessary  de- 
tails and  dimensions  for  building  same. 
It  was  designed  for  use  with  a  i6mm. 
camera,  but  can  be  altered  to  afford  use 
of  any  8mm.  or  i6mm.  camera.  The 
camera  rests  in  vertical  filming  posi- 
tion, the  only  method  suitable  to  ani- 
mation, and  the  drawings  or  objects  to 
be  photographed  are  placed  on  the  base 
or  "cartoon  board."  Photofloods  in  re- 
flectors mounted  on  adjustable  arms, 
are  positioned  below  the  camera  and  at 
such  an  angle  as  will  not  cause  any  of 

•  Continued  on  Page  206 
Fig.  2 


ANIMATION 


BOARD. 


i;  "V. 


C«IM«»-(Ltl«J  e«WN)- 


BKACKCr  TD 


/  't 

SLOT-I  X7 

{.  

\*\ — ' 

REFI-CCTOKS 


THAT  ONL.1 


-2f - 


IGmm    ANIMATED    CARTOON    MACHINE  0/ i'and  v"PLYWOOD 


•  Offered  for  comparison  is  ihe  diffused  scene,  Fig.  1,  and  the  out-of-focus  shot,  Fig.  2. 


Ia  and  when  to  u^e  it 


B  y 


W 


H  M 


A 


CINEMATIC  effect  not  en- 
tirely abandoned  by  the  professional  and 
one  particularly  suited  to  amateur  mov- 
ies is  diffusion.  Its  purpose  is  to  soften 
the  lines  in  a  scene  and  impart  a  lan- 
quid  quality  otherwise  known  as  soft 
focus,  to  certain  types  of  closeups  and 
scenic  shots. 

A  few  years  ago,  diffusion  was  used 
in  theatrical  movies  to  a  greater  extent 
than  now.  The  fact  the  practice  has 
lessened  is  no  condemnation;  rather  it  is 
an  indication  of  the  inconsistency  of 
Hollywood  which  is  prone  to  overdo  an 
effect,  once  proved  successful,  then 
abandon  it  almost  abruptly  in  favor  of 
some  other  newly-introduced  device. 


So  there  may  be  no  misunderstanding 
among  amateur  cinefilmers  as  to  just 
what  a  diffused  scene  is,  perhaps  a  brief 
explanation  is  advisable  at  this  point. 
Some  erroneously  believe  that  diffused 
effects  in  photography  are  created  by 
throwing  the  scene  out  of  focus.  This  is 
far  from  true.  A  diffused  scene,  on  the 
contrary  requires  that  it  not  only  be 
sharply  focused  but  that  the  depth  of 
focus  extend  deeply  into  the  scene.  The 
diffusion  effect  is  created  by  a  device 
placed  before  the  lens  which  breaks  up 
or  diffuses  the  rays  of  light  reflected  by 
the  image  or  scene  photographed. 

True  diffusion  is  graphically  illus- 
trated here  in  Fig.  i.  Compare  the  effect 
with  that  of  the  same  scene 
deliberately  photographed 
out  of  focus  as  shown  in 
Fig.  2.  The  same  scene, 
photographed  normally, 
appears  in  Fig.  3. 

A  truly  diffused  scene  is 
one  in  which  no  harsh  lines 
remain.  Each  line  seems  to 
melt  into  the  other.  The 
changes  in  detail  are  soft, 
not  abrupt.  As  one  author- 


•  Here  is  the  original, 
sharply  focused  scene. 
Note  how  all  details 
are  distinctly  visible 
in  the  diffused  shot 
( Fig.  1  )  above. 


ity  so  aptly  put  it,  there  are  two  im- 
ages: one  sharp,  the  other  soft,  the  lat- 
ter apparently  super-imposed  over  the 
first. 

A  diffused  scene  isn't  merely  one  that 
has  been  soft  lighted.  Cheesecloth  over 
the  floodlights  will  produce  soft  light- 
ing, but  won't  give  a  diffused  picture, 
for  detail  will  still  be  wiry  sharp.  It  is 
true  that  soft  lighting  is  often  used 
when  a  scene  is  to  be  diffused,  since 
contrasty  lighting  is  sometimes  difficult 
to  handle  when  diffusion  is  desired. 

Most  amateurs  want  their  movies 
needle  sharp,  and  this  is  just  what  they 
should  be.  Ordinary  scenes  are  not  im- 
proved by  diffusion,  and  the  effect 
should  not  be  attempted  unless  the  scene 
or  sequence  is  strengthened  by  its  use. 

A  diffused  scene  denotes  a  slow, 
dreamy  atmosphere.  Only  when  the 
tempo  of  a  film  is  quite  slow  should  it 
be  attempted.  In  such  cases  the  action, 
also,  must  be  slow.  A  typical  example 
would  be  a  sequence  of  a  stream  slowly 
winding  its  way  through  swaying  wil- 
lows and  beneath  fleecy  white  clouds. 
There  is  no  hurry,  no  fast  action.  After 
three  or  four  scenes  a  pair  of  lovers 
move  slowly  into  the  scene,  arm  in  arm. 
Medium  shots  and  close-ups,  however, 
are  the  type  of  shots  most  frequently 
treated  with  diffusion. 

Now  if  the  stream  mentioned  above 
were  a  babbling  brook,  diffusion  would 
be  entirely  out  of  place,  since  the  faster 
action  would  be  unsuited  to  the  mood 
created  by  diffusion.  Wherever  there  is 
fast  action  and  fast  tempo,  photography 
should  continue  sharp.  It  is  never  advis- 
able to  mix  diffused  scenes  alternately 
with  clear  cut  ones. 

The  use  of  diffused  scenes  is  much 
like  that  of  any  other  effect  in  that  they 
are  effective  when  used  at  the  right  time 
and  in  the  right  place,  but  when  em- 
ployed indiscriminately  they  are  defi- 
nitely harmful  to  the  film.  It  is  up  to  the 
filmer  to  decide  when  a  sequence  will  be 
•  Continued  on  Page  205 

186 


HOME  MOVIES  FOR  MAY 


•  Equal  to  sabotage  is  carelessness  that  fires  our  forests,  deprives  us  of  valu- 
able war  supplies.  Education  through  amateur's  films  can  prevent  much  of  this. 


cAmateur- produced  ^ilm^  to  aid 

U.S.inloreH  COiSERMTIOI 


Forestry  Department  bids  Home 
Movies  sponsor  campaign  among  filmers 

By  JACK  IRWIN 


11  EARLY  every  person  who 
frequents  the  mountains  and  forests  of 
America  has  witnessed  the  aftermath  of 
a  destructive  forest  fire.  The  disaster  is 
usually  considered  only  in  terms  of  a 
closed  vacation  spot  or  a  charred  blot 
in  an  otherwise  beautiful  scenic  pano- 
rama. Today,  however,  we  must  take 
a  more  realistic  view  of  forest  fires,  for 
a  conflagration  gutting  hundreds  of 
acres  of  virgin  timber  deprives  us  of 
essential  war  materials,  damages  wa- 
tersheds necessary  to  war  production, 
and  places  in  jeopardy  vital  communi- 
cation and  power  lines. 

Two  aspects  of  America's  war  eflfort 
are  involved  in  forest  protection.  It 
should  be  pointed  out  in  the  first  place 
that  America  has  i6o  national  forests. 
Much  of  the  nation's  industrial  output 
depends  largely  upon  resources  obtained 
from  these  forests.  Likewise  civilian 
morale  is  greatly  strengthened  by  forest 
outings.  Therefore,  destructive  forest 
fires  can  imperil  both  the  country's  ar- 
mament program  and  the  high  level  of 
morale. 

With  these  facts  in  mind  and  with 
the  object  of  making  them  more  vivid 


in  the  mind  of  every  citizen,  the  United 
States  Forest  Service,  through  its  super- 
visor of  the  Angelus  National  Forest 
in  Southern  California  has  asked  Home 
Movies  to  sponsor  a  program  of  ama- 
teur-produced 8mm.  and  i6mm.  films 
on  forest  protection. 

Idea  is  for  individual  amateurs  and 
cine  club  groups,  planning  spring  and 
summer  filming,  to  voluntarily  under- 
take production  of  forest  conservation 
films  that  will  contribute  directly  to 
the  war  effort.  Films  would  then  be 
screened  by  the  producers,  or  exhibi- 
tor staffs  appointed  by  them,  in  schools, 
churches,  clubs  and  among  civic  organ- 
izations. The  project  is  for  strictly  vol- 
untary workers,  the  government  sup- 
plying no  material  nor  film.  But  those 
who  undertake  such  films  will  be  more 
than  paid  for  the  expense  involved. 
Moreover,  no  more  film  need  be  involved 


than  the  few  rolls  usually  shot  on  an 
outing  or  vacation.  But  a  better  picture 
will  result  and  the  filmer  will  have  the 
pride  that  comes  with  knowledge  that 
through  his  hobby,  he  has  contributed 
patriotically  to  the  war  effort. 

Suggested  theme,  around  which  the 
amateur  may  build  his  picture  is  the 
"fag  bag" — an  innovation  recently  in- 
troduced by  the  U.  S.  Forest  Depart- 
ment. Fag  bags  are  small  red  muslin 
sacks  fitted  with  a  draw  string  into 
which  motorists  and  campers,  entering 
a  national  forest,  place  their  cigarets 
for  the  duration  of  their  visit.  Thus  it 
becomes  a  check  on  the  thoughtless 
smoker  who  otherwise  might  draw  a 
cigarette  from  the  open  pack,  light  it 
up  and  throw  away  the  possibly  lighted 
match,  without  realizing  the  potential 
danger  of  his  act.  Dr.  Robert  A.  Milli- 
•  Continued  on  Page  20} 


197 


PACE  188 


HOME  MOVIES  FOR  MAY 


%Vltat  the  beginner  ^Itould  know 

about  mm  SPEEDS 


LOST  all  of  us  know  that  in 
order  for  action  in  a  motion  picture  to 
appear  normal  on  the  screen,  the  film 
must  be  projected  at  the  same  speed  it 
was  photographed.  Perhaps  another  way 
of  saying  this  is,  that  if  the  action  is  to 
appear  normal,  then  the  picture  must  be 
photographed  at  normal  projection 
speed  which  is  i6  f.p.s.  (i6  frames  per 
second)  for  silent  motion  pictures.  If 
the  picture  was  photographed  at  a 
greater  or  lesser  speed,  action  on  the 
screen  would  appear  abnormal. 

There  are  times  when  abnormal  ac- 
tion is  desired  and  for  this  reason  cer- 
tain scenes  in  a  movie  often  are  delib- 
erately filmed  at  8,  24,  32,  48,  or  64 
f.p.s.  Use  of  fast  and  slow  camera 
speeds  came  into  prominence  in  the  days 
of  silent  movies  when  they  were  util- 
ized for  comedy  effects.  And  because 


W 


slow  motion  and  half-speed  filming 
widens  the  scope  of  amateur  movie  mak- 
ing, most  modern  cine  cameras  provide 
more  than  one  filming  speed. 

Look  at  the  speed  control  of  your 
camera.  You'll  find  it  may  be  adjusted 
to  change  the  rate  of  travel  of  the  film 
past  the  shutter  from  16  f.p.s.  to  8  f.p.s., 
or  to  two  or  more  of  the  higher  speeds 
mentioned  above.  Some  cameras  provide 
for  all  four  ultra-speeds  plus  the  half- 
speed. 

Although  the  outstanding  virtue  of 
the  8  f.p.s.  speed  may  be  its  ability  to 
offset  poor  light  conditions,  and  of  the 
higher  or  "ultra"  speeds  to  record  ob- 
jects in  slow  motion  for  more  careful 
analysis,  both  can  be  used  by  the  ama- 
teur for  trick  effects.  A  camera,  run- 
ning at  the  slower  speed  of  8  f.p.s.  re- 
sults in  faster  than  normal  action  on 


the  screen.  In  the  camera  the  film 
travels  at  only  8  frames  per  second.  In 
the  projector  it  travels  twice  as  fast  or 
at  the  rate  of  16  frames  per  second. 
Screen  action  therefore  is  twice  as  fast. 
Those  who  recall  the  old  silent  come- 
dies will  remember  the  chase  scenes  in 
which  the  patrol  wagon,  bearing  Key- 
stone cops,  speeds  crazily  down  the 
street  in  pursuit  of  the  villain. 

By  speeding  up  camera  action  from 
16  f.p.s.  to  64  f.p.s.  or  less,  slow  mo- 
tion on  the  screen  is  obtained.  Most  of 
us  are  familiar  with  comedy  effects 
produced  by  high-speed  filming,  many 
having  already  made  movies  utilizing 
this  effect.  A  subject  in  action,  filmed 
at  say  64  f.p.s.,  is  screened  at  the  nor- 
mal 16  f.p.s.  speed  or  4  times  slower 
than  it  was  photographed.  Action  there- 
fore is  slowed  accordingly. 

There  are  two  things  which  must  be 
kept  in  mind  when  proceeding  to  shoot 
movies  at  above  or  below  normal  speed. 
First,  a  compensation  in  exposure  is  nec- 
essary. If,  for  example,  a  normally 
lighted  scene  is  to  be  exposed  at  the 
slower  speed  of  8  f.p.s.,  the  lens  must  be 
closed  down  to  admit  just  half  as  much 
light.  If  the  camera  is  speeded  up  to  say 
32  f.p.s. — twice  normal  speed — then 
exposure  must  be  increased  to  admit 
twice  as  much  light.  As  an  example,  say 
the  scene  to  be  shot  at  8  f.p.s.  calls  for 
a  normal  exposure  (at  16  f.p.s.)  of 
f  II.  To  admit  half  as  much  light,  the 
lens  must  be  closed  down  one  full  stop 
to  f/i6.  At  32  f.p.s.  the  lens  would 
have  to  be  opened  up  to  f  8,  and  at 
64  f.p.s.,  to  f/  5.6. 

Second:  The  length  of  the  exposure 
— that  is,  the  time  required  for  shoot- 
ing a  scene — should  be  varied  accord- 
ing to  the  camera  speed  used,  in  order 
to  provide  the  normal  running  time  on 
the  screen.  For  instance,  when  shooting 
at  8  f.p.s.,  the  camera  should  be  oper- 
ated for  twenty  seconds  in  order  to  pro- 
duce a  scene  that  will  screen  for  ten 
•  Continued  on  Page  209 


•  Eight  frames-per-second  half- 
speed  enables  cine  cameras, 
loaded  with  supersensitive  film, 
to  capture  striking  night  pano- 
ramas like  this. 


HOME  MOVIES  FOR  MAY 


yOULD  you  borrow  a  cat  and  a 
canary  for  a  little  filming  fun  next  Sun- 
day afternoon?  Of  course,  if  you  already 
have  these  pets  in  your  home,  you're  all 
set  to  film  this  amusing  comedy  that's 
just  made  to  order  for  a  man  and  wife, 
plus  the  pets  mentioned.  It's  a  script  that 
will,  if  carefully  filmed,  reflect  your 
ability  as  a  director  and  your  actor's 
personalities  as  individuals. 

What  makes  this  story  doubly  attrac- 
tive is  that  it  can  be  filmed  with  no  out- 
side assistance.  The  husband  can  double 
for  himself  and  the  tramp,  allowing  his 
wife  to  handle  the  camera  for  the  shots 
in  which  these  characters  appear.  In  those 
scenes  in  which  both  husband  and  wife 
appear  together,  the  camera  can  be 
locked  in  running  position — the  hus- 
band walking  into  the  scene  and  this 
portion  of  the  film  deleted  at  the  editing 
board. 

Cast  requirements  are  as  follows:  the 
wife,  husband,  tramp,  the  cat  and 
the  canary.  Most  of  the  opening 
scenes  take  place  indoors. and  therefore, 
photofloods  and  reflectors  will  be  need- 
ed to  light  up  these  interior  settings. 
However,  immediate  lack  of  lighting 
equipment  need  not  deter  one  from  pro- 
ceding  with  this  picture,  for  photoflood 
lamps  and  inexpensive,  collapsible  paper 
reflectors  are  available  from  any  photo 
dealer.  These,  set  up  in  floor  lamps  and 
lighting  fixtures,  will  provide  all  the 
light  needed  for  the  interior  scenes. 

One  should  have  a  sunlight  reflector 
for  the  exterior  shots,  too — especially 
for  those  of  the  tramp  beneath  the 
bridge.  This  may  be  fashioned  from  a 
piece  of  wallboard  or  plywood,  about  3 
feet  square,  painted  with  aluminum 
paint  or  chrome  enamel.  In  the  absence 
of  this,  a  white  card,  sheet  or  other 
bright  surface  will  make  an  acceptable 
reflector. 

As  an  aid  to  editing  the  picture  when 
shooting  is  done,  number  every  scene. 
Write  each  scene  number  on  a  slate  or  a 
piece  of  board  painted  black  and  shoot 
three  or  four  frames  of  it — no  more — 
after  the  completion  of  each  shot.  At 
the  edi  tmg  board  each  scene  may  readily 
be  identified  by  this  number  and  quick- 
ly spliced  into  place  after  the  necessary 
trimming. 

For  the  benefit  of  the  beginner,  we 
shall  take  opportunity  here  to  explain 
the  terminology  used  throughout  the 
script.  A  closeup  is  a  shot  of  an  object 


A' 


Clifton  Edom 


mum  L 


or  two 


people^  a  cat  and  canary. 


B  y 


WALTER  HOFFMAN 


or  of  a  person's  head,  and  sometimes 
shoulders,  that  almost  fills  the  picture 
frame.  A  medium  closeup  takes  in  a  per- 
son from  the  waist  up.  A  medium  shot 
is  made  with  camera  from  eight  to 
twelve  feet  from  the  subject  or  subjects, 
usually  takes  in  the  complete  figure.  A 
lojjg  shot  is  anything  beyond  that  de- 
fined for  a  medium  shot.  A  reverse  shot 
is  where  the  camera  is  set  up  to  show 
the  scene  from  the  opposite  angle  of  a 
previous  shot. 

To  make  the  pan  shots  called  for  in 
scenes  7  and  4^,  the  filmer  should  have 
a  suitable  tilt-pan  head  for  his  tripod. 


•  This  is  copy  for  insert  shot 
called  for  in  scene  26.  Merely 
cut  it  out  and  photograph  it  In 
your  typewriter  titler. 


Lacking  this  accessory,  satisfactoriy  re- 
sults can  be  achieved  by  holding  the 
camera  steady  and  panning  slowly  mak- 
ing sure  body  is  well  braced  against 
sidesway 

Scene  24  calls  for  the  camera  to  "pull 
•  Continued  on  Page  200 


PRESS 


\i-  tor  tlaim 


HOME  MOVIES  FOR  MAY 


j^oWj  let^A  tr^  our 


lira  TRICK  FILM! 


B  y 


GEORGE 


OR  those  readers  who  have 
taken  the  trouble  to  construct  the 
"Frame"  described  in  preceding  articles 
and  who  have  overcome  the  difficulties 
of  backwind  in  the  case  of  their  own 
particular  camera,  the  time  has  arrived 
when  the  first  trick  film  may  be  tackled 
in  earnest.  We  shall  start  with  the  tech- 
nique known  as  the  "Split  Screen." 

As  is  often  the  case,  split  screen  work 
is  effective  because  it  is  so  simple.  It  con- 
sists essentially  of  dividing  the  picture 
area  into  two  portions,  and  by  means 
of  the  positive  and  negative  type  of 
masks  described  last  month,  the  two 
portions  are  exposed  one  after  the  other, 
leaving  no  trace  of  the  "joint"  between 
the  two,  separately  exposed  sections  of 
the  complete  picture.  This  technique  is 
largely  used  for  "double"  effects,  in 
which  an  actor  and  his  double  appear 
together  in  the  same  picture,  both  parts 
being  played  by  the  same  person.  Noth- 
ing could  be  more  exciting  than  setting 
out  to  make  a  film  of  the  family  twins, 
father  and  mother  included. 

For  such  a  film,  the  most  obvious  di- 
vision to  suggest  itself  is  that  of  a  cut 
along  a  vertical  line  down  the  center  of 
the  picture,  the  action  being  confined  to 
either  side;  one  half  being  exposed,  then 
the  other.  But  if  the  audience  is  to  be 
kept  guessing,  then  we  must  vary  the 
technique,  not  only  by  ringing  the 
changes  on  the  position  of  the  cut  lines, 
but  by  the  method  of  suggestion  as  well. 

Cut  lines  are  rendered  less  obvious 
when  they  are  made  to  coincide  with 
natural  lines  in  the  picture,  such  as  the 
edge  of  a  house  wall,  or  the  outline  of  a 
window  frame.  The  cut  line  need  not  be 
straight;  it  can  follow  any  path,  such 
as  round  the  back  of  a  chair;  it  merely 


•  These  photos  illustrate  some  of 
the  trick  effects  that  easily  may  be 
accomplished  by  amateurs  using 
the  trick  frame  or  stage  described 
in  the  March  issue. 


G      A      U      L  D 


makes  the  cutting  of  the  mask  a  little 
more  difficult. 

Although  masks  should  be  cut  as  ac- 
curately as  possible,  a  high  degree  of 
precision  is  not  required.  The  outline  of 
split  screen  masks  set  up  on  Stage  A 
of  the  frame  will  have  a  high  degree  of 
diffusion,  and  any  slight  errors  made  in 
the  cutting  will  be  covered  up  by  this 
diffusion.  Cutting  along  natural  lines 
in  the  picture  makes  such  errors  quite 
unnoticeable.  Furthermore,  the  inevit- 
able slight  "shake"  between  the  two  ex- 
posures, due  to  minute  inaccuracies  in 
film  and  camera  mechanism,  will  be  dis- 
cernable  only  to  the  most  critical  and 
expert  eye. 

If  the  film  were  composed  entirely  of 
trick  shots,  it  would  not  only  be  tire- 
some, but  the  deception  would  become 
obvious  and  the  film  would  cease  to  have 
interest.  The  theme  must  be  extended  by 
suggestion.  It  is  not  necessary  to  show 
"twins"  together  in  every  shot.  If  such 
a  shot  is  followed  by  two  close-ups,  one 
of  each  "twin"  in  his  relative  position, 
the  audience  will  be  quite  satisfied  that 
the  shots  are  of  two  separate  persons, 
not  one  and  the  same  as  they  must  be, 
in  reality.  Such  variations  increase  the 
interest  of  the  film  and  make  it  more 
plausible.  The  following  sequence  shows 
how  this  policy  of  "ringing  the  changes" 
is  carried  out  in  practice. 

( 1 )  The  scene  opens  with  a  medium 
shot  of  the  family  automobile  coming 
to  rest  outside  the  house.  The  shot  takes 
in  about  half  the  windshield  and  the 
driver's  door.  Papa  One  opens  the  door, 
gets  out,  and  walks  towards  the  camera, 
and  out  of  the  picture.  (Cut  two  or 
three  frames  before  he  disappears  com- 
pletely.) The  camera  is  stopped  and 
care  taken  not  to  move  it.  Papa  now 
gets  back  into  the  automobile,  but  this 
time,  in  the  passenger  seat  next  the 
driver. 

(2)  Pan   slowly   across   the  wind- 

•  Continued  on  Page  210 
190 


HOME  MOVIES  FOR  MAY 


PACE  191 


H  0  W      make  ^ade'in^  and  ^ade-out^ 


The  fade  has  become  an  essential,  if  not  an  integral 
part  of  every  motion  picture — amateur  as  well  as 
professional.  A  fadeout  may  be  likened  to  the  curtain 
falling  at  the  close  of  an  act.  For  fades,  properly  used, 
close  one  sequence  in  a  picture  and  open  another.  Any 


amateur  can  make  fade-outs  and  fade-ins  as  demon- 
strated in  the  illustrations  described  briefly  below. 
High-priced  gadgets  are  not  essential,  although  they 
aid  in  making  smoother  fades  and,  in  some  instances, 
automatically. 


F5.6 


F.I6 


Simplest  method  for  making  fades  requires  only  closing  or  opening 
the  lens  iris  when  filming  the  beginning  or  end  of  a  scene.  This  may 
be  done  by  slowly  turning  iris  control  ring — the  knurled  ring  by 
which  you  set  the  exposure.  This  requires  that  camera  be  securely 
mounted  on  tripod,  leaving  one  hand  free  to  manipulate  lens  for  the 
fade.  A  gadget,  easily  made,  will  facilitate  this  operation.  As  pictured, 
it  consists  of  a  metal  ring  fitted  with  a  long  machine  screw  which 
fastens  over  the  iris  ring.  Screw  also  serves  as  lever,  insuring  smoother 
opening  or  closing  of  iris  The  gadget  also  is  available  commercially 
for  50c. 


Best  known  gadget  for  making  fades  in  home  movies  is  the  fading 
glass.  It  consists  of  a  pieces  of  optical  glass,  about  i  '74  X4  ,  gradu- 
ated from  crystal  clear  to  full  opaque.  This  is  drawn  across  the  lens 
as  the  camera  records  the  scene,  gradually  increasing  or  reducing  light 
admitted  to  the  lens,  thus  producing  the  fade.  Such  fading  glasses 
are  available  commercially  for  a  few  dollars.  Enterprising  amateurs 
can  make  their  own  from  a  piece  of  flawless  window  or  plate  glass. 
This  should  be  graduated  to  full  opaque  with  the  aid  of  candle  smoke, 
then  covered  with  a  similar  piece  of  clear  glass,  to  protect  the  coating, 
and  taped  at  top  and  bottom. 


DYE 


Chemical  fades  are  not  only  simple  to  make  but  afford  a  means  for 
inserting  fades  omitted  during  filming  but  required  in  the  editing  of 
a  picture.  Commercially  available  for  just  this  purpose  is  Foto-Fade, 
a  chemical  compound  which,  when  dissolved  in  water,  provides  an 
effective  dye  to  which  film  may  be  subjected  gradually  to  produce  the 
fade.  Film  is  merely  lowered  gradually  into  bottle  containing  the 
dye  and  withdrawn  slowly.  End  of  film,  entering  dye  first  and  having 
remained  in  solution  longer  than  the  rest  of  the  area,  thus  receives 
the  dye  in  fullest  density.  The  area  submersed  only  an  instant  becomes 
the  start  of  the  fade. 


Automatic  fading  devices  are  available  which  may  be  attached  be- 
fore the  lens  on  the  camera  to  produce  smooth,  effective  fades,  auto- 
matically. Among  such  devices  are  the  Bool  Cine  Fader,  the  Baia  Cine 
Transito,  Jr.,  and  the  Wesco  Fadette.  The  Bool  device  not  only  pro- 
duces fades  but  many  other  transition  effects.  Operation  is  by  small 
spring  motor,  controlled  by  cable  release.  Baia's  device  is  controlled 
and  motivated  solely  by  cable  release  which  actuates  a  graduated  disc 
to  produce  the  fade.  This  gadget  also  makes  wipeoffs.  Wesco's  Fadette 
produces  a  rectangular  iris-like  fade,  is  also  cable  release  controlled 
and  motivated. 


•  Production  "stills"  from  )6mm.  amateur-produced  version  of  Dickens'  "Oliver  Twist." 


c4mateur  Or^onWellei 

liim,  OLIVER  TlllST 


By  J       .  H  . 

HEX  residents  of  W^innetka, 
Illinois,  flocked  to  their  Community 
House  one  evening  last  September  for  a 
gala  "premiere"  of  an  amateur  movie 
production,  they  shortly  found  them- 
selves admiring  spectators  to  a  full 
length  movie  version  of  Charles  Dick- 
ens' immortal  ston,',  "Oliver  Twist." 
Entirely  filmed  in  i6mm.  by  a  youth- 
ful company  headed  by  20-year-old  Da- 
vid Bradley,  this  remarkable  amateur 
effort  has  won  for  Bradley  the  undis- 
putable  title  of  "Orson  '^"elles  of  ama- 
teur movies."  And  Home  Mo\tes  hap- 
pily contributes  another  honor,  award- 
ing this  fine  film  the  Movie  of  the 
Month  certificate  for  May. 

Producer,  director,  cameraman,  edi- 
tor and  one  of  the  principal  actors  of 
the  impressive  97-minute  production, 
young  Bradley  demonstrated  beyond 
reasonable  doubt  that  even  such  a  mon- 
umental book  as  "Oliver  Twist"  can  be 
filmed  with  sustained  interest  and  sus- 
pense  by    amateur   movie  equipment, 

192 


S        C        H        0        E  N 

coupled  with  enthusiastic  initiative  and 
a  feel  for  cinematic  storj'-telling. 

No  idle  community  boast  is  Bradley's 
well-deserved  characterization  as  "^"^in- 
netka's  answer  to  Orson  Welles,"  for  he 
has  demonstrated  a  talent  for  movie  pro- 
duction that  transcends  the  average  and 
approaches  the  promise  of  genius.  Yet  it 
must  be  remembered,  if  one  is  inclined 
to  dismiss  his  achievement  as  a  wholly 
unaooroachable  effort  from  the  stand- 
point of  expense  and  time,  that  he  won 
success  with  the  same  tools  available  to 
ever}'  follower  of  the  home  movie  hob- 
by. That  his  father  "angeled"  the  enter- 
prise, supplying  funds  unstintingly  for 
film,  props,  costumes,  etc.  is  beside  the 
point  for  young  Bradley  has  shown  the 
imagination  that  would  have  opened 
other  ways  to  finance  the  project  if  a 
cooperative  father  had  not  been  in  a 
position  to  do  so. 

Just  graduated  from  exclusive  Lake 
Forest  Academy,  he  had  done  a  half- 
dozen  amateur  movies  when  he  dec  ided 


to  attempt  a  picturization  of  "Oliver 
Twist."  Enlisting  the  support  of  other 
young  people  in  the  community,  he  was 
soon  roving  the  town  with  a  calculating 
eye  for  casting  the  production,  choosing 
a  Nancy  Sikes  here  and  an  Artful  Dod- 
ger there.  Those  summoned  quickly 
responded  and  thus  it  became  a  neigh- 
borhood project  which  consumed  the 
interests  of  23  members  of  the  cast  and 
production  staff  throughout  the  summer. 

At  the  premiere,  which  was  staged 
with  all  the  show  of  a  typical  Holly- 
wood opening,  residents  of  the  wealthy 
Chicago  suburb  saw  many  familiar  faces 
among  the  cast,  which  ranged  in  age 
from  5  to  50.  They  also  recognized  some 
of  the  settings,  inasmuch  as  Bradley 
and  his  assistants  scoured  the  commun- 
ity for  months  to  find  "locations"  that 
would  be  appropriate  to  the  19th  cen- 
tury locale  of  the  story-.  To  his  credit, 
viewers  of  the  picture  at  the  premiere 
and  at  subsequent  showings  were  uni- 
formly astounded  that  the  smooth  flow- 
ing action  of  the  stor}'  made  them  lose 
sight  of  the  fact  that  it  had  all  been 
filmed  within  the  limits  of  their  own 
city.  Publicity  in  Chicago  newspapers 
later  won  the  producer  further  critical 
acclaim  as  the  lo-reel  film  was  shown 
before  many  groups  in  the  Chicago  vi- 
cinity. 

Xo  small  task  it  was  to  condense  the 
lengthy  book  to  scenario  form  suitable 
to  filming  by  an  amateur  company.  But 
the  famihar  and  well-beloved  sx.ory  is 
all  there — Young  Oliver  asking  for  a 
•  Continued  on  Psge  202 


HOME  MOVIES  FOR  MAY 


193 


SOUND 


recording,  for  home  movies 


•  •  • 


T. 


HAT  "Music  hath  charms"  is 
especially  true  when  adapted  as  an  ac- 
companiment to  amateur  movies,  as 
those  who  have  tried  it  out  will  testify. 
The  production  of  sound-on-film  is  too  B  y 
expensive  for  the  average  home  movie 
maker,  but  sound-on-disc  can  be  pro- 
duced for  less  than  the  cost  of  the  film 
used  in  making  the  picture,  assuming, 
of  course,  that  one  already  owns  a  ra- 
dio-phonograph or  other  means  of  re- 
producing the  sound. 

A  recorder  is  not  an  essential  piece  of 
equipment  if  one's  acquaintance  extends 
into  a  local  radio  station  or  to  someone 
in  the  neighborhood  who  possesses  a 
home  recorder.  However,  the  production 
of  sound-on-disc  may  prove  unsatisfac- 
tory if  one  attempts  the  job  of  record- 
ing with  cheap  equipment.  Just  as  the 
cameraman  takes  pride  in  composition 
and  exposure,  and  just  as  the  film  editor 
takes  pride  in  making  the  film  interest- 
ing, so  must  the  sound  man  have  pride 
in  the  fidelity  of  his  recordings. 

Perhaps  my  own  experiences  of  the 
past  will  reveal  some  information  that 
will  be  useful  to  others  who  are,  for  the 
first  time  about  to  undertake  the  use 
of  home  recorded  sound-on-disc  to  pro- 
vide sound  for  their  home  movies. 

I  had  my  first  experience  in  the  use 
of  sound  with  home  movies  through  the 
use  of  a  borrowed  dual  turntable  play- 
ing standard  records,  all  of  which  was 
thrilling  but  unsatisfactory.  I  disliked 
the  constant  changing  of  records  and 
the  diflEculty  of  making  smooth  transi- 
tions between  the  several  musical  selec- 
tions. This  led  me  into  an  uncontroll- 
able desire  for  putting  all  the  sound 
needed  for  one  film  on  one  record.  This 
was  accomplished  by  recording  sound  at 
33-1/3  revolutions  per  minute  on  a  16- 
inch  disc,  thereby  getting  announce- 
ments and  music  sufficient  for  200  feet 


;p  •  With  the  right  equipment 
any  amateur  can  make  success- 
ful recordings  that  will  give  a 
professional  touch  to  8mm.  or 
16mm.  films.  Here,  members  of 
the  Long  Beach  Cinema  Club 
are  cutting  a  disc  composed  of 
narrative  with  musical  back- 
ground for  a  club  production. 


Practical  advice  on  disc  record- 
ing    by    a     successful  cinebug 


ARCH 


of  8mm.  or  400  feet  of  i6mm.  at  silent 
speed  all  on  one  record. 

With  only  limited  funds  at  hand  the 
acquisition  of  proper  turntable  equip- 
ment became  a  realistic  problem.  This 
was  solved  by  accumulating  a  good  mo- 
tor, a  dual-speed  turntable,  a  crystal 
pick-up  and  a  used  oscillator  unit.  These 
were  assembled  in  a  homemade  plywood 
box,  and  the  wiring  was  so  arranged  that 
I  could  play  records  through  the  home 
radio  by  wireless  or  could  plug  directly 
into  an  amplifier  unit. 

During  the  construction  period  many 
hours  were  spent  with  a  friend  who 
had  a  very  broad  knowledge  of  music. 
By  the  time  the  turntable  was  assembled 
and  some  short  subject  recordings  made, 
we  had  developed  an  ambitious  program, 
deciding  to  score  the  music  for  a  22- 
minute  film;  whereupon  we  immediate- 
ly faced  the  fact  that  a  16-inch  tran- 


SANDERS 

scription"  could  be  cut  to  produce"  only 
1 6  or  17  minutes  of  satisfactory  sound. 

Having  spent  all  the  money  in  my 
hobby  budget  on  the  play-back  equip- 
ment a  second  turntable  was  immediate- 
ly out  of  reach,  but  I  conceived  the 
idea  of  cutting  approximately  14  min- 
utes on  a  16-inch  disc  to  play  from  the 
center  toward  the  rim,  the  remaining 
time  to  be  cut  on  a  12-inch  disc  play- 
ing from  the  rim  toward  the  center. 

I  had  a  vague  notion  that  as  the 
needle  approached  the  rim  of  the  16- 
inch  disc  I  could  drop  the  12-inch  disc 
on  top  of  it  and  at  the  proper  time 
quickly  shift  the  needle  to  the  smaller 
disc.  Our  sound  recording  expert  who 
had  been  brought  into  the  group 
laughed  at  the  idea  but,  believe  it  or 
not,  //  worked. 

However,  there  are  two  things  vital- 
•  Continued  on  Page  204 


f 


PAGE  194 


HOME  MOVIES  FOR  MAY 

THE  EXPGRIMEHAL 


Film  Washed 

This  simple  device  took  the  meanest 
job  out  of  home  processing  for  me.  Fre- 
quent washing  of  film  is  a  tiresome  job, 
but  this  device  does  it  automatically, 
leaving  the  processor  free  for  other 
duties. 

Gadget  consists  of  a  rectangular  can 
and  suitable  wooden  support  as  pictured. 
Can  should  be  slightly  wider  than  de- 
veloping drum  or  reel.  Three  rows  of 
holes  are  punched  in  bottom  of  can 
with  an  ice  pick  or  a  six-penny  nail  and 
about  three-quarters  of  an  inch  apart. 

At  the  top  of  one  end  of  can  a  con- 
nection for  a  length  of  rubber  hose, 
leading  from  fresh  water  supply,  must 
be  provided.  Where  can  is  provided  with 
a  small  screw-top  outlet,  this  may  be 
used  for  hose  connection.  Also,  a  smaller 
hole  must  be  punched  at  opposite  top 
corner  of  can  to  provide  for  release  of 
air  and  serve  as  overflow  valve. 

The  wooden  support  should  be  con- 
structed to  fit  the  respective  processing 
equipment  so  it  will  hold  the  can  above 
the  reel  and  slightly  off  center  so  that 


flow  of  water  will  cause  reel  to  revolve 
during  washing  process.  Can  may  be 
fitted  to  support  with  bolt  and  thumb 
screw,  as  shown.  This  affords  adjusting 
can  forward  or  backward  to  obtain 
proper  flow  of  water  over  reel. 

I  found  this  arrangement  was  best 
suited  for  use  over  a  laundry  tub  where 
fresh  water  supply  and  drainage  facili- 
ties already  exist. 

— Vent  Lake, 
Detroit,  Mich. 

Piojectoi  Aid 

The  rise  of  the  tilting  device  on  my 
projector  is  limited;  also,  when  projec- 
tor is  used  on  a  small  table,  noise  from 
vibration  is  amplified.  I  therefore  built 
a  single  device  to  overcome  both  of  these 
difficulties. 

Pictured  here,  it  consists  of  a  pad  of 
sponge  rubber,  obtainable  from  dime 
store  counters.  At  one  end  is  a  two-step 


WOOD  BLOCK  "'steps" 


SPOfl/CF  RUBB£R 

PROJECTOfi  PAD 


arrangement  of  wooden  blocks  cement- 
ed to  the  rubber.  Front  of  projector 
rests  on  one  of  these  steps  when  maxi- 
mum extension  of  tilt  device  is  not  suffi- 
cient to  elevate  projection  beam  above 
heads  of  audience. 

— D.  ^.  Pease, 
Chicago,  III. 

Kaleidascope 

Any  amateur  can  make  trick  kaleida- 
scope effects  in  his  movies  and  titles;  also 
make  the  kaleidascope  for  the  purpose. 
All  that  is  required  is  a  5"  tube  approxi- 
mately lYz"  in  (inside)  diameter,  and 
three  pieces  of  mirror  cut  to  a  size  to  fit 
inside,  as  shown  in  illustration. 

For  tube,  an  old  discarded  flashlight 
case  may  be  used,  or  a  section  cut  from 
a  cardboard  mailing  tube.  Cut  the  mir- 
rors to  required  length  and  width  and 
insert  them  in  tube  as  shown,  cementing 
them  in  place  with  glue  or  adhesive  tape. 
Another  method  is  to  join  mirrors  to- 
gether to  form  a  triangle,  binding  them 
with  adhesive  tape,  then  insert  into 
tube. 


FLASH-LIGHT  CASE 


LIGHT  SOCKET  TOP 


For  8mm.  cameras  with  small  lens 
barrels,  the  top  of  an  old  electric  light 
socket  may  be  fitted  over  one  end  of 
tube  to  provide  a  means  of  attaching 
and  centering  kaleidascope  over  lens.  For 
cameras  with  larger  lenses,  cut  a  disc 
from  stout  cardboard  the  diameter  of 
the  tube;  cut  a  hole  in  exact  center  to 
fit  the  lens;  then  cement  this  disc  over 
one  end  of  kaleidascope. 

To  use,  fit  kaleidascope  before  the 
lens  and  rotate  it  slowly  while  camera 
is  in  motion.  The  effect  produced  will 
be  that  of  an  object  focused  sharp  at 
the  center,  with  duplicate  images  mov- 
ing around  it  in  a  circle. 

— Veter  hindemann, 
Larchmont,  N.  Y. 

Editing  Aid 

New  use  for  discarded  50-foot  reels 
is  editing  aid  pictured  here.  Solder  five 
or  six  reels  together  at  the  rims 
and  mount  on  a  shaft  and  base.  Attach 
a  handle  to  the  outside  reel  so  all  can  be 
turned  simultaneously. 

In  editing,  place  the  scenes  not  in  se- 
quence on  the  different  reels  and  write 
the  number  of  the  scene  and  reel  on  a 
sheet  of  paper,  for  example:  "Scene  4 — 
reel  i;"  "Scene  7 — reel  2;"  etc.  Scene 
5  and  8  can  be  spliced  on  to  4  and  7  and 
so  forth.  Then  beginning  with  the 
"End"  title  on  a  200-foot  reel,  wind 
back,  picking  up  the  scenes  in  order 
and  splicing  in  titles  at  same  time. 

When  all  scenes  are  spliced  in  order 
and  wound  back,  put  on  the  opening 


IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  ti- 
tling, editing  or  processing  home 
movies,  pass  it  on  to  your  fellow 
cinebugs  through  these  columns.  If 
your  idea  is  published  you  will  re- 
ceive two  reels  for  your  efforts.  Ex- 
traordinary ideas  will  net  you  a  roll 
of  film. 

Ideas  not  published  will  be  held 
for  future  publications  unless  they 
duplicate  ideas  previously  received. 
Endeavor  also  to  send  along  photos 
or  rough  sketches  illustrating  your 
suggestions.  There  is  no  limit  to 
number  of  suggestions  you  may  sub- 
mit. 

Important:  When  submitting  ideas, 
be  sure  to  mention  whether  equip- 
ment you  use  is  8  mm.  or  1 6  mm., 
enabling  us  to  promptly  forward 
awards  adaptable  to  your  use. 


HOME  MOVIES  FOR  MAY 


PACE  195 


CHE   W  0  H  K  S  U  0  P 


title  and  white  leader  and  the  film  is 
ready  for  screening.  Rubber  erasers  hold 
loose  ends  of  film  as  the  reels  rotate,  as 
shown  in  photo. 

— John  J.  Lloyd, 
Long  Beach,  Calif. 


MAILING  TUBE 


CARDSOAfiD 


DETAIL  OF 


WOOD  BLOCKS  'a' I  "e' 


Wipe-off  Gadget 


A  simple  wipe-off  device  may  be 
made  from  a  section  of  cardboard  mail- 
ing tube.  Diameter  of  the  tube  will  de- 
pend upon  the  camera  and  size  of  lens. 
The  gadget  illustrated  required  a  sec- 
tion y^"  in  length  from  a  i^g"  mailing 
tube. 

Two  small  notched  blocks  of  wood 
A  and  B  were  glued  to  either  side  to  an- 
chor the  rubber  band  that  extends 
around  the  camera  and  holds  the  gadget 
in  place  over  the  lens.  Another  wooden 
block  C  is  glued  at  bottom  of  tube,  as 
shown,  to  which  is  attached  by  means 
of  a  small  screw  or  tack,  a  piece  of  stout 
cardboard  cut  to  the  size  and  shape  as 
shown  at  D.  This  cardboard  is  the  wipe- 
off  blade  and  is  moved  across  from  left 
to  right,  and  vice  versa,  to  produce  the 
wipe  effect. 

The  entire  gadget,  including  inside 
of  the  tube  section,  was  painted  flat 
black. 

—V.  D.  Stci  eiis 
HilUdale,  Mich. 


Viewer  Slide 

Amateurs  who  use  film  viewing  de- 
vices such  as  the  Craig  Project-O-Edi- 
tor,  will  find  their  use  greatly  enhanced 
if  the  device  is  mounted  on  a  sliding 
track,  permitting  moving  viewer  back 
for  rapid  rewinding  of  film,  and  for- 
ward for  viewing  purposes.  Track  may 
be  constructed  of  three  pieces  of  wood 
and  attached  to  editing  board. 

— /.  H.  Renters, 
Alfadena,  Calif. 


Titlei  Lens^Turret 

The  most  practical  of  home  made 
titlers  is  that  which  provides  for  filming 
titles  at  several  distances,  i.  e.,  6,  8,  lo, 
and  12  inches,  etc.  from  the  camera. 
This  requires  the  use  of  several  auxiliary 
lenses — one  for  each  distance. 

A  method  for  making  these  lenses  im- 
mediately available  and  in  fixed  position 
in  a  holder  that  will  insure  accurate  cen- 
tering of  auxiliary  in  front  of  camera 
lens,  is  the  lens  turret  pictured  here.  It 
may  be  adapted  to  any  type  of  home 
titler,  horizontal  or  vertical. 

Turret  is  made  from  a  circular  piece 
of  plywood  into  which  holes  are  cut  for 
the  required  number  of  auxiliary  lenses. 
Detailed  sketch  shows  method  of  mount- 
ing lenses.  Turret  wheel  is  mounted  on 
a  stand  constructed  of  light  pine  and 
attached  to  titler  base  at  required  dis- 
tance from  camera.  Extending  from  this 
base,  as  shown  at  A,  is  an  indicator — 
made  of  a  strip  of  metal  or  wood — 
sharpened  at  the  end. 

Around  the  edge  of  wheel,  marks  are 


indicator  a 


;  ;< — » 


MOVEABLE  TITLE  BOARD 


IN  Die  A  TOR  A 


CfM£A/r  AROUND 

Lff^S  EDGE 


AUXILIARV  LENS 


painted  to  indicate  when  each  lens  is  in 
alignment  with  camera  lens  and  these 
marks  should  match  up  with  the  pointer. 

Title  board  should  be  adjustable,  as 
shown,  so  that  it  may  be  moved  forward 
or  backward  to  the  corresponding  dis- 
tances photographed  with  each  auxili- 
ary lens. 

— £ar/  C.  Lciiz, 
Cicero,  lit. 

Jug  Processing 

For  an  emergency  job  of  processing 
or  developing  of  reversal  film,  a  bottle 
and  a  jug  or  pitcher  may  be  used  as  pic- 
ured  here.  Jug  or  pitcher  should  be 
about  I  gallon  in  capacity  which  will  ac- 
commodate an  ordinary  quart-size  wine 


g^adg^et^^  tricks  & 
^Itortcut^  contri- 
butedbg  Cinebug.^ 


SECTION  OF 
INNER  TUBE 


QUART  BOTTLE 


STRING - 


or  beer  bottle.  The  bottle  becomes  the 
"drum"  on  which  the  film  is  wound, 
and  the  jug  or  pitcher,  the  "developing 
tank." 

To  prevent  slippage  of  film,  a  section 
of  old  inner  tube  may  be  fitted  over  the 
bottle,  then  stout  string  wound  around 
the  bottle  in  a  spiral  to  form  a  track 
for  the  film. 

Wind  film  around  bottle,  securing 
the  ends  with  rubber  bands,  and  insert 
bottle  in  jug  containing  about  a  pint 
of  solution.  Rotate  bottle  to  agitate. 

A  metal  container  may  be  used  in 
place  of  jug  or  pitcher,  providing  it  is 
first  adequately  coated  with  acid-resist- 
ant paint. 

— Stanley  Jepson, 
Bombay,  India 

Remodeled  Projector 

Now  that  some  types  of  late  model 
projectors  are  difficult  to  get,  owners 
of  old  model  i6mm.  projectors  may  be 
•  Continued  on  Page  214 


PACE  196 


HOME  MOVIES  FOR  MAY 


3t',  m 


to  me 

By  CiNEBUG  Shopper 


Auricon  Sound  Camera 

A  self-blimped  single-system  Auri- 
con sound  camera  makes  its  debut  in 
time  to  be  of  service  to  serious  i6mm. 
filmers  planning  or  actively  engaged  in 
producing  civilian  defense  and  other 
educational  films  requiring  sound  track. 
Mechanism  and  film  gate  are  said  to  be 
designed  along  best  professional  lines 
insuring  rock-steady  pictures. 

A  single  "C"  mount  lens  seat  will 
take  1 6mm.  Filmo,  Bolex,  or  Victor 
camera  lenses.  Some  Eastman  lenses  may 
be  used  with  the  usual  "C"  mount 
adaptor  ring. 

Camera  is  driven  by  built-in  iio 
volt,  60  cycle  synchronous  motor.  200- 
foot  daylight  loading  film  capacity  to- 
gether with  the  motor  drive,  provides 
for  a  maximum  of  5  '/2  minutes  contin- 
uous filming.  Camera  is  equipped  with 
recording  galvanometer  which  produces 
a  variable  area  sound  track.  Frequency 
response  of  the  vibrating  mirror  sound 
recording  unit  is  greater  than  the  range 
of  most  sound  film  projectors  in  use  to- 
day, according  to  the  manufacturer. 

This  new  Auricon  Sound  Camera  is 
available  with  two  kinds  of  amplifier 
equipment.  Less  lens,  the  price  is  $695. 
With  standard  amplifier,  tubes,  bat- 
teries, dynamic  microphone,  folding 
stand,  mike  cable — all  contained  in  at- 
tractive leatherette  carrying  case,  price 
is  $880.00. 

Additional  data  may  be  had  by  writ- 
ing E.  M.  Berndt  Corp.,  5515  Sunset 
Blvd.,.  Hollywood,  Calif. 

-.V 

New  Fine  Grain  Film 

Visual  Instruction  Supply  Co.  offer 
a  new  fine  grain  Semi-Orthochromatic 
reversible  film,  called  Black-White, 
available  in  8mm.  and  i6mm.  Weston 
1 2  and  Scheiner  18. 

Black-White,  mounted  on  daylight 
loading  spools,  with  recommended  emul- 
sion speed  in  daylight,  is  priced  at  98 


cents  for  25  feet;  $1.39  for  50  feet; 
$1.98  for  100  feet.  Prices  include  pro- 
cessing (one-day  service)  and  return  by 
regular  parcel  post. 

Visual  Instruction  also  announces  a 
1 6mm.  Duplicate  Finishing  Service. 
$3.00  for  75  to  100  feet  per  roll.  Three 
cents  additional  100  or  more  per  foot. 
There  is  a  $3.00  minimum  charge  for 
less  than  75  feet. 

For  further  information,  write  Visual 
Instruction  Supply  Co.,  1757  Broad- 
way, Brooklyn,  N.  Y. 

Renewal  Service 

With  all  photographic  equipment  be- 
coming increasingly  difficult  to  obtain. 
Bell  &  Howell  has  taken  a  wise  step  in 
making  it  easy  and  inexpensive  for  own- 
ers of  Filmo  equipment  to  take  the  best 
possible  care  of  present  cameras  and 
projectors  through  a  newly  inaugurated 
low-cost,  flat-rate  service  system.  New 
flat-rate  service  charges  apply  to  all 
models  of  Filmo  8mm.  and  i6mm.  cam- 
eras and  projectors,  and  to  Filmosounds, 
and  by  going  to  his  dealer,  the  Filmo 
owner  can  determine  in  a  minute  just 
what  service  is  going  to  cost  him. 

Bell  &  Howell  states  that  "mass  pro- 
duction" service,  with  its  corollary  low- 
ering of  prices,  involves  no  lowering  of 
the  company's  standards  of  precision 
and  quality  worfl.  It  has  been  inaugur- 
ated,, says  the  company,  as  a  timely  and 
economical  service  to  Filmo  owners. 

For  further  information,  see  your 
Filmo  dealer  or  write  to  Bell  &  Howell 
Company,  1801  Larchmont  Avenue, 
Chicago,  Illinois. 

Centering  Guides 

Now  available  for  all  makes  and 
models  of  8mm.  and  i6mm.  cine  cam- 
eras are  title  centering  guides,  with 
which  the  amateur  may  quickly  align 
his  camera  with  a  title,  large  or  small, 
insuring  accurate  centering. 

Guides,  complete  with  illustrated  in- 
structions for  use,  are  loc  each  and  may 
be  had  for  the  following  cameras:  8mm. 
— Revere  (all  models) ;  Cine  Kodak 
Magazine  Eight;  Single  Lens  Filmo; 
Models  20,  25,  and  60  Cine  Kodaks; 
Filmo  Turret  Eight;  and  Keystone. 
1 6mm. — Magazine  Cine  Kodak;  Model 
K  Cine  Kodak;  Model  E  Cine  Kodak; 
Filmo  141;  Filmo  121;  and  Filmo  Mod- 
els 70. 

Order  direct  from  Home  Movies, 
6060  Sunset  Blvd.,  Hollywood,  Calif. 


Revere  Eights 

Simplicity  of  film  loading  and  oper- 
ation is  outstanding  features  claimed  by 
manufacturer  for  the  popular  model 
"8  8"  Revere  8mm.  cine  cameras.  Sim- 
plicity of  threading  is  a  feature  sought 
in  cameras  by  experienced  filmers.  With 
the  Revere,  according  to  the  maker,  the 
spool  of  new  film  is  merely  slipped  over 
the  supply  spindle,  the  leader  placed  in 
the  film  gate  so  it  follows  the  loop  de- 
sign marked  in  white  inside  the  case, 
run  it  around  the  single  sprocket  and 
on  to  the  take-up  reel  and  you're  ready 
to  shoot. 

The  Revere  "88"  affords  5  speeds 
with  a  positive  speed  governor  control, 
built-in  parallax-corrected  viewfinder, 
and  reciprocating  sprocket  film  con- 
trol. Complete  with  Wollensak  f  3.5 
lens,  it  sells  for  $38.50. 

mpro  S.  O.  F.  Projectors 

Attractive  feature  claimed  for  new- 
est Ampro  sound  projectors  is  simple 
threading  operation  which  assures  mini- 
mum time  lapse  between  reel  changes. 
According  to  manufacturer,  film  threads 
straight  through  projector,  an  opera- 
tion which  has  been  simplified  by  em- 
ploying only  two  sprockets. 

It  is  also  claimed  that  Ampro  projec- 
tors can  be  unpacked  and  swung  into 
action  in  a  surprisingly  short  time, 
with  minimum  fuss  and  delay. 

Although  the  demands  of  the  U.  S. 
war  program  may  make  it  impossible 
to  fill  requirements  immediately,  every 
person  interested  in  Ampro  sound  pro- 
jectors are  urged  by  the  manufacturer 
to  examine  these  machines  and  obtain  a 
test  screening  from  local  Ampro  repre- 
sentatives. 

Literature  and  prices  on  all  model 
Ampro  projectors — sound  and  silent — 
is  available  from  the  manufacturer,  the 
Ampro  Corp.,  2851  No.  Western  Ave., 
Chicago. 

Versatile  Spot 

Of  interest  to  amateur  filmers  is  a 
500-watt  spotlight  and  its  unique  ac- 
cessory, a  "snoot"  attachment  for  in- 
tensifying spotlight  effects  on  small  ob- 
jects, offered  by  the  Gold-E  Manufac- 
turing Co.  Trade  named  the  Gold-E 


HOME  MOVIES  FOR  MAY 


PAGE  197 


Bantam  Super  Spot  and  Gold-E  attach- 
ment respectively,  both  items  are  still 
available  in  spite  of  dwindling  metal 
supplies. 

The  spotlight,  illustrated  here,  is 
adaptable  to  average  spotlight  require- 
ments and  especially  provides  a  suitable 
holder  for  the  "snoot"  attachment. 

The  "snoot"  attachment  provides  ex- 
tra condensers  which  are  inserted  in 
place  of  the  usual  Fresnel  lens.  Four  in- 
dividual masks  are  furnished,  each  af- 
fording a  different  size  light  aperture. 
The  housing,  fitted  with  objective  lens, 
completes  the  attachment. 

Prices  and  additional  information  may 
be  had  from  manufacturer  whose  ad- 
dress is  1218  West  Madison  St.,  Chicago. 

Windbacks 

All  tricks  which  depend  on  ability 
to  windback  the  film  are  now  made  pos- 
sible for  owners  of  the  Filmo  70.  Lap 
dissolves,  titles  on  moving  backgrounds, 
etc.,  are  all  based  on  the  double  expos- 
ure principle,  and  the  hand  crank  per- 
mits the  amateur  to  rewind  the  film  and 
expose  it  a  second  time.  Installation  is 
made  at  the  Chicago  factory  of  Bell  & 
Howell.  For  price  and  further  data, 
write  Bell  &  Howell,  1801  Larchmont 
Avenue,  Chicago. 

Sn^otma  tion 

please  .  .  . 

•  Continued  from  Page  i  80 

sufficient.  You  must  also  make  sure  your 
camera  is  in  100%  vertical  position;  for 
even  though  it  is  tilted  a  mere  fraction 
to  the  right  or  left,  the  plumb  bob  will 
still  hang  straight  down.  Best  thing  to 
do  is  first  line  up  your  camera  with  a 
small  spirit  level,  then  align  the  title 
card  with  lens  by  means  of  the  plumb 
bob. 

Plastic  Reels  (Homer  Harrington, 
Burlingame,  La.) 

Q.  Are  the  new  projection  reels  of 
plastic  as  good  as  those  of  metal? 

A.  We  find  the  plastic  reels  equally 
as  durable,  and  besides  are  much  lighter, 
making  for  lower  postage  where  reels 
of  home  movie  film  are  shipped  by  mail. 

Bomb  Source  (J.  H.  Miltoner,  Allen- 
town,  Pa.) 

O.  I'm  planning  the  filming  of  a  local 
defense  film.  Where  can  I  obtain  an  in- 
cindiary  bomb  or  a  statable  substitute  to 
be  used  in  a  scene} 

A.  See  your  local  Civilian  Defense 
Board  or  fire  chief.  The  former  should 
be  consulted  anyway,  regarding  your 
project,  especially  if  your  film  is  to  be 
screened  to  the  public. 


COMPACT... 


THE  Miniature  (2\^  x  3J<t)  Speed  Graphic  is  small  only  in  terms  of  inches 
and  ounces.  In  terms  of  photographic  capability,  it  is  a  big  camera. 
For  sport  or  for  still  life,  for  use  with  flash  or  on  "time,"  for  studied  com- 
positions or  for  snatched  opportunities,  the  Miniature  Speed  Graphic  gives  full 
play  to  your  photographic  abilities. 

As  illustrated  here,  it  is  equipped  with  the  superb  //4.5  Kodak  Ektar  lens 
in  Supermatic  shutter;  there's  the  Graphic  focal-plane  shutter,  too,  with  its  24 
speeds  up  to  1/1000.  Ground-glass  focusing  is  ready  for  use  when  you  need 
it;  a  parallax-corrected  tubular  optical  finder  and  a  wire-frame  finder  guide 
your  action  shots. 

Check  the  features  of  the  Miniature  Speed  Graphic  at  your  Kodak  dealer's. 
It's  an  exciting  camera. 

Graftex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corporation. 

EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


_^iw^5>  "I  owned  my  Master  for  some  months 
V--»  before  I  became  aware  of  the  com- 
plete scope  of  its  unique  and  very  valuable 
exposure  dial.  I  now  find  it  a  great  aid  in 
getting  those  many  shots  where  close-up 
readings  are  impossible,  and  normal  read- 
ings would  be  misleading,"  writes  another 
Master  enthusiast. 

You,  too,  have  the  same  exclusive  expo- 
sure dial...  if  you're  one  of  the  fortunate 
Master  owners.  Be  sure  you  make  full  use 


of  it ...  especially  the  "A  and  C"  and  "U 
and  0"  positions.  You'll  then  be  able  to 
master  any  photographic  situation,  regard- 
less of  light  conditions. 

Your  dealer  will  be  glad  to  give  you  full 
details  on  the  Master;  or,  complete  lit- 
erature can  be  secured  by  writing  to  . . . 
Weston  Electrical  Instrument  Corporation, 
585  Frelinghuysen  Avenue.  Newark,  N.  J. 


WESTON  £)^(>iim ^Jkem4 


PACE  198 


HOME  MOVIES  FOR  MAY 


3iL 


m 


Where  to  buy  and 
rent  home  movie  films 


*  O  augment  your  home  movie 
shows,  make  use  of  the  fine  libraries  of 
rental  films  maintained  by  your  photo 
dealer  for  owners  of  Smm.  and  16mm. 
projectors.  Rental  rates  are  surprisingly 
low  and  new  films  are  added  at  regular 
intervals.  Dealers  listed  below  will  gladly 
assist  with  suggestions  for  one  reel  to 
full  evening  programs; 

CALIFORNIA 

HOLLYWOOD 

Bailey  Film  Service 

1651  Cosmo  Street 

Bell  &  Howell  Filmosound  Library 

716  N.  La  Brea  Ave. 

Morgan  Camera  Shop 

6262  Sunset  Blvd. 
BEVERLY  HILLS 

Beverly  Hills  Camera  Shop 

417  No.  Beverly  Drive 
GLENDALE 

Kirk's  Camera  Exchange 

125  So.  Brand  Blvd. 
LONG  BEACH 

Winstead  Bros.,  Inc. 

244  Pine 
SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 

Photo  &  Sound.  Inc. 

153  Kearny  St. 
SANTA  MONICA 

Stewart  Photo  Company 

1257  Third  Street 

DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St..  N.  W. 

ILLINOIS 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

KANSAS 

WICHITA 

Lewis  Film  Exchange 
216  East  Ist.St. 

MASSACHUSETTS 

BOSTON 

Don  Elder's  Film  Library 
739  Boylston  St.,  Dept.  HM 
Frank  Lane  and  Company 
5  Little  Building 

NEW  YORK 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 

30  Rockefeller  Plaza 

Walter  O.  Gutlohn,  Inc. 

25  West  45th  St. 

Haber  &  Pink,  Inc. 

12-14  Warren  St. 

Medo  Photo  Supply 

15  West  47th  St. 


OHIO 

CINCINNATI 

Ralph  V.  Haile  &  Assoc. 

215  Walnut  St. 
DAYTON 

Dayton  Film  (8-16)  Rental  Libraries 

2227  Hepburn  Ave. 

TEXAS 

DALLAS 

National-Ideal  Picture.s.  Inc. 
2024  Main  St. 


Advertisement 


J/         want  a  FILM  to  ^now  .  .  • 

..  .  here's  news  of  timely  subjects  for  fiome  projectors 


MacArthur  and  Manila 

Said  to  be  the  timeliest  movie  to  have 
come  from  the  production  staff  of 
Castle  Films  in  some  time  is  announced 
for  release  May  ist.  Title  is  "MacAr- 
thur — America's  First  Soldier  and  Ma- 
nila Bombed!"  The  film  combines 
two  closely  related  subjects  in  one  reel 
that  contains  tremendous  appeal  to  every 
red-blooded  man,  woman  and  child  in 
the  country.  Without  over-lionizing 
General  MacArthur,  this  film  presents 
a  screen  symposium  of  his  active  career 
right  up  to  scenes  showing  him  in  Ma- 
nila after  the  planes  of  Japan  had  blast- 
ed futilely  at  his  stalwart  troops  and 
before  his  sensational  trek  to  Australia. 

As  a  screen  tribute  to  the  man  and 
an  inspiration  to  all  who  see  it,  the 
movie  is  said  to  have  unusual  current 
importance  and  inestimable  future  his- 
torical value.  On  the  same  reel  are 
scenes  shot  as  Manila  burned,  only  re- 
cently released  by  the  U.  S.  Army.  Oil 
tanks  are  shown  exploding  .  .  .  buildings 
in  the  business  section  aflame  .  .  .  public 
structures  and  dwellings  reduced  to 
shambles  by  the  terrific  onslaught  of 
wave  of  Jap  bombers.  For  the  first  time, 
it  enables  Americans  in  the  safety  of  the 
States  to  envision  war's  devastation  first- 
hand. This  special  Castle  news  release 
is  available  at  photographic  dealers  in 
five  sizes  and  lengths  for  Smm.  and 
1 6mm.  projectors. 

Filmo  Smm.  Library 

In  response  to  the  demands  of  its  film 
patrons,  the  Filmosound  Library  of  the 
Bell  &  Howell  Company  announces,  in 
their  new  1942  edition  of  its  catalog  of 
Recreational  films,  the  addition  of  an 
Smm.  film  rental  service.  The  initial 
listing  includes  75  subjects  consisting 
of  features,  cartoons,  sport  shorts,  trav- 
el subjects,  musicals  and  novelties. 

Both  black-and-white  and  natural 
color  subjects  are  available. 

Rental  charges  are  75c  per  reel  on 


monochrome  and  S1.50  per  reel  on  col- 
or subjects.  For  further  information, 
communicate  with  your  local  Bell  & 
Howell  dealer. 

Flicker  Frolics 

Raygram  Corporation,  New  York 
City,  is  introducing  a  new  series  of 
home  movies  known  as  "Flicker  Fro- 
lics.' "The  Race  for  Life"  is  title  of 
first  of  these  comedy  subjects,  a  hilari- 
ous Mack  Sennett  adaptation  of  an  old 
"mellerdrama"  in  which  the  spurned 
villain  ties  the  beautiful  heroine  to  the 
railroad  tracks.  After  much  action  and 
suspense,  she  is  saved  by  the  hero  in  the 
nick  of  time. 

Featured  are  Mabel  Normand,  Mac 
Sennett,  Ford  Sterling,  the  Keystone 
Kops  and  Barney  Oldfield  himself  in 
the  thrilling  rescue  of  the  girl.  This  film 
is  available  in  Smm.  in  iSo  foot  lengths 
at  $5.50. 

National  Anthem 

A  short  motion  picture  trailer,  long 
enough  to  accommodate  the  singing  of 
the  National  Anthem,  has  been  pro- 
duced by  Castle  Films  in  both  sound 
and  silent  versions  for  Smm.  and  i6mm. 
projectors.  Super-imposed  words  of  the 
song  appear  on  all  editions  which  in- 
clude three;  two  in  i6mm.,  sound  and 
silent,  and  one  in  Smm.  A  stirring  pic- 
torial procession,  symbolic  of  patriot- 
ism, occupies  the  screen  during  the 
singing.  Castle  Films'  "The  Star  Span- 
gled Banner"  is  in  demand  for  cutting 
into  existent  film  for  use  in  homes, 
schools  and  in  other  places  where  com- 
munity singing  is  in  order.  It  is  avail- 
able at  the  usual  Castle  photographic 
dealers. 


Bosko 

Long  a  favorite  among  fans  of  ani- 
mated cartoons,  Bosko  is  to  be  made 
available  for  home  movie  projectors. 
Distribution  rights  to  these  popular 
Hugh  Harmon  subjects  have  been  ac- 
quired by  Hollywood  Film  Enterprises, 


HOME  MOVIES  FOR  MAY 


PACE  199 


who  also  are  exclusive  distributors  of 
Walt  Disney  and  Walter  Lantz  animat- 
ed cartoons  in  8mm.  and  i6mm.  ver- 
sions. 

First  Bosko  films  now  ready  for  re- 
lease are  "Bosko's  Photo  Finish"  and 
"Bosko's  Bear  Escape"  available  in  loo 
feet  1 6mm.  or  50  feet  8mm.  i6mm.  re- 
lease will  retail  for  $3.00  and  the  8mm. 
for  $1.50. 

New  catalog  supplements  descriptive 
of  other  films  of  the  Bosko  series  may  be 
had  from  photo  dealers  or  by  writing 
Hollywood  Film  Enterprises,  6060  Sun- 
set Blvd.,  Hollywood. 

Four  Hits 

Post  Pictures,  723  7th  Ave.,  N.  Y. 
City,  offer  four  new  feature  length 
"hit"  pictures  in  i6mm.  sound  produced 
by  leading  Hollywood  Studios.  Com- 
plete catalog  with  full  data  and  prices 
is  available  free  by  writing  to  above 
address. 

News  Thrills 

News  Thrills  of  1942  is  title  of  latest 
Official  Films'  release  in  both  8mm.  and 
1 6mm.  for  home  projectors.  Film  em- 
braces all  important  war  events  from 
landing  of  British  Commandos  to  the 
blasting  of  Japs  in  Marshall  Islands  by 
U.  S.  Navy.  Additional  volumes  of 
News  Thrills  will  be  released  in  July 
and  September. 


/"^X  (   LIFE  )  /-"^ 


LIGHT 


COLOl 


LIGHT,  LAMP  LIFE  and  COLOR  temperature  •  • 

One  fact  about  filament  lamps  has  been  checked  again  and  again: 
Lamp  life,  light  and  color  depend  on  each  other,  in  a  3-way 
balance.  If  you  favor  one,  you  sacrifice  on  the  others.  To  help  you 
get  the  most  from  your  pictures.  General  Electric  controls  this 
balance  to  fit  yo^^r  needs.  That's  why  you  get  the  best  balance  of 
long  life,  high  light -output,  correct  color  temperature, 
with  low  current  consumption  .  .  .  and  get  it  uniformly,  at 
low  cost . . .  when  you  say,  "G-E  MAZDA  Photoflood  lamps." 

^  X  FOR 

GENERAL  m  ELECTRIC 


MAZDA  PHOTO  LAMPS 

Mazda  Research,  leads  the  way. 


BETTER 
PICTURES 


"Spice"  your  Spring  and  Summer 
film  productions  wifh  me 

CINE-FADER 


MAKES  64  VARIETIES  OF 
INTERESTING  FADES  AND  DISSOLVES* 

Your  movies  will  be  far  more  interesting  when  the 
novel  techniques  at  your  disposal  with  the  Bool  are 
added.  And,  moreover,  good  scene  and  title  transi- 
tions never-failingly  add  to  the  easy  flow  and  story 
value  of  any  film. 

Discriminating  amateurs  have  learned  that  they 
can  make  fades  and  lap  dissolves  "on  the 
move"  if  a  BOOL  CINE-FADER  is  employed 
to  make  the  transition.  Fades,  with  this  handy 
device,  are  made  by  two  leaves  moving  simultaneously 
and  automatically  either  to  open  or  to  close  the  aper- 
ture in  front  of  the  camera  lens.  The  duration  is  so 
accurately  timed  by  the  clockwork  mechanism  that  fades 
and  dissolves  are  consistent  in  their  timing. 

You  are  limited  only  by  your  imagination  when  you 
work  with  the  CINE-FADER  —  you  can  make  as  many 
as  64  different  interesting  transitions.  With  the  special 

At  Your  Dealer's  or  Order  Direct: 

AMERICAN  BOLEX  COMPANY.  INC. 

155  EAST  44th  STREET  NEW  YORK,  N.  Y. 

Western  Repretentative:  Frank  A.  Emmet  Co.,  2707  W.  Pico  St.,  Los  Angeles,  Calif. 


MOVABLE 
FADER  LEAVES'' 


extension  tube  furnished,  fades  can  be  made  with  soft  or 
sharp  edges.  And,  as  a  note  of  additional  versatility,  the 
CINE-FADER  also  works  effectively  as  a  fader  over  the 
lens  of  any  projector. 

^18.75,  including  Extension  Tube,  Cable  Release,  and 
Instructions. 

^Dissolves  can  be  made  only  when 
camera  has  backwmding  mechanism. 


PACE  200 


HOME  MOVIES  FOR  MAY 


Scenario  ^or  two 


New  Features  for  Your  Filmo 

•  If  you  want  features  offered  by  newest 
Filtno  models  which  your  dealer  can't  de- 
liver immediately,  chances  are  that  B&H 
craftsmen  can  add  them  to  your  present 
Filmo  Camera  or  Projector.  New  "Mod- 
ernization Folders"  give  details  and  costs. 
Ask  your  dealer  or  write,  stating  your  Filmo 
model. 

Use  This  Timely  A/f  IV  SlRVlCi 

•  If  you  own  a  Bell  &  Howell  Camera  or 
Projector,  you  have  something  that  might 
be  difficult  to  replace  now.  So  you'll  want 
to  take  especially  good  care  of  it.  Do  this 
with  assurance  and  economy  by  using  our 
new  Standard-Price  Service  Plan.  See  your 
dealer  or  write  for  prices  on  the  three 
classes  of  our  new,  economical,  mainte- 
nance and  repair  service.  Bell  &  Howell 
Company,  182  5  Larchmont  Ave.,  Chicago; 
New  York;  Hollywood;  Washington,  D.  C; 
London.  Established  1907. 


PRECISION-MADE  BY 


A/eur  8mm 

HOLLYWOOD 
FILM 

ite 

Price  includes  guaranteed  machine  processing,  slitting  of 
film  and  postage  for  return  on  50'  8mm.  projection  reel. 

AMBERTINT    $1.25 

A    practical   every-day   film    for  outdoors. 
Finegrain,  semi-ortho,  wide  latitude. 


•  Continued  from  Page  i  S9 

back"  or  away  from  the  scene,  reveal- 
ing more  of  it.  Professionals  term  this  a 
"dolly  shot"  and  it  is  usually  accom- 
plished with  the  camera  mounted  on  a 
four-wheeled  camera  car  or  "dolly." 
The  amateur  can  gain  the  same  effect 
by  mounting  his  camera  and  tripod  on  a 
child's  toy  wagon  and  having  an  as- 
sistant pull  vehicle  slowly  while  the 
shot  is  being  made. 

The  shooting  script  follows: 

Cake,  Cat  and  Canary 

Main  and  Credit  Titles:  Time,  fif- 
teen seconds.  Fade  out — 

Scene  i.  Closeup.  Fade  in,  cake  be- 
ing iced.  Dissolve  or  truck  back  to — 

2.  Medium  closeup.  Housewife  ic- 
ing cake  and  sprinkling  small  candy 
decorations  on  top.  Bird  cage  above  to 
right,  suspended  near  kitchen  window. 
Housewife  talks  to  bird  as  she  works. 

3.  Medium  shot.  Housewife  fin- 
ishes icing  cake,  places  it  on  adjoining 
table.  Goes  over  to  bird  cage  and  as 
she  opens  cage  door,  cut  to — 

4.  Medium  closeup.  Housewife 
feeding  canary,  business  of  "tweeting" 
to  bird,  etc.  Cage  door  remains  open. 


5.  Closeup.  Cat,  on  floor,  looking 
up  (toward  bird  in  cage). 

6.  Medium  closeup.  Continuation 
of  scene  4.  Housewife,  attracted  by 
cat's  meow,  looks  down,  sees  cat. 

7.  Medium  shot.  Same  as  scene  6, 
with  camera  farther  back.  Housewife 
picks  up  cat,  and  camera  pans  with  her 
as  she  good  naturally  carries  cat  to  back 
door  and  puts  it  out.  As  she  returns  to 
the  birdcage,  cut  to — 

8.  Closeup.  Telephone  (ringing). 

9.  Medium  shot.  Back  to  scene  7. 
Housewife  hears  phone,  exits  from 
scene,  leaving  door  in  bird  cage  open. 

10.  Medium  closeup.  Housewife  at 
telephone.  (No  need  to  show  her  com- 
ing into  scene  and  picking  up  receiver) . 
She  settles  down  obviously  for  a  lengthy 
conversation. 

1 1 .  Closeup.  Birdcage.  Door  open. 
Bird  inside.  If  possible  try  to  get  this 
shot  with  bird  hopping  up  on  open 
doorway,  preparatory  to  flying  out. 

12.  Closeup.  Open  window,  in- 
doors. Cat  hops  up  on  ledge  (from  out- 
side). Sits  on  ledge  a  second,  then  jumps 
down  into  room. 

13.  Closeup.    Back    to    scene  10. 


EMULSION  RATINGS  FOR  8MM  AND  16MM  FILMS 


Scheiner 


AGFA    ANSCO  I 

16mm    S.SS   Pan  _  |  29 

IS  Hypan  |  24 

16mm    Panchromatic  I  21 

16mm  Supreme  Pan.  Negative... .j  27 

16mm   Positive  -  I  12 

16mm    Plenachrome  j  20 

8mm  Twin-8  Hypan  j  24 

8mm   Filmopan  |  24 

Twin  8mm  Pan  j  20 

Twin  8mm  SSS  Pan  |  29 

Straight  8  Pan  |  24 

I 

••DUPONT  I 

Regular  Pan  (Bev.)  Type  321  1  20 

Super  Pan  (Iter.)  Type  302  j  29 

Sup. -2  (N-PorBr.)  Type  301... I  26 
Type   314   Pan    (N.-P.  or  Bev.)..|  21 

Positive  Type  600  |  12 

Sound  Becord.  Pos.  Type  601  j  17 

I 

EASTMAN  I 

16mm  Super  XX  Pan  |  .... 

16mm  Suver  X  Pan    j  24 

ISmm    Safety   _  |  20 

16mm  Sound  Pan   I  23 

16ram  Pan.  Negative  I  23 

16mm  Positive   I  16 

8mm  Super  X  Pan  j  23 

8mm  Begular  Pan  I  18 

Kodachrome  (8  and  ISmm)  I  18 

Kodachrome  "A"  (8  and  16mm).. I  18" 
I 

GEVAERT  I 

Super   Beversal   -  I  23 

Panchro   _  I  20 

Ortho   I  21 


G-E 


Seheiner  Weston 


GEN-ERA 

Super  ifetenrpan   

Super  Panchromatic 

Super  Ortho   

Movctone  Ortho   

Scrai-Ortho   _  

KIN-O-LUX 

No.  1  

No.  2  

No.  3  

No.  3  Gold  Seal  

HOLI,YWOOD 

S.  S.  Pan   _  

Pan  

Semi-Ortho  . 

UNI  VEX 

.Standard   

tJItrapan   

GASfMACHROME 

Regular    

Plus   

Ruperpanex  No.  100. 
Superpanex  No.  24... 
Colortone   


64  I  40 

24  I  IS 

16  I  6 

16  I  6 

8  I  2 

I 

I 

8  I  _ 

12  I  .... 

50  I  40 
-..  1 100 

1 

I 

50  I  40 

16  I  12 

8  I  2 

I 

I 

6  I  .... 

12  I  6 
I 
I 

8  I  3 

12  I  6 

100  I  64 

24  I  in 

S  I  3 


OUTDOOR    $1.25 

Excellent  outdoor  film  with  enough  speed 
for  almost  all  conditions.  Wide  latitude. 
Makes  topnotch  black  and  white  titles. 

^^■^  INTRODUCTORY  OFFER  ^^^^^ 

BY  POPULAR  DEMA.VD  THIS  OFFEE  HAS 
BEEN  EXTENDED 

Until  June  1.5th  to  introduce  five  thousand 
new  customers  to  Hollywood  film  we  will 
accept  orders  of  one  roll  Ambertint  ftmm. 
plus  one  roll  Outdoor  8mm.>  both  for  $2.00. 

California  Customers  Include  Sales  Tax 

Accompany  your  order  with  this  ad  or  a 
reasonable  facsimile. 


HOLLYWOODLAND  STUDIOS 

.SOUTH  GATE  C.ALIFORNI.A 


••Batlngs  for  la.st  four  Pupont  film.s  are  for  straight  development.  Ratings  for  reversal  depend  upon  processing 

formulas  and  technique  employed. 
•With  filter. 


HOME  MOVIES  FOR  MAY 


PAGE  201 


Housewife  hangs  up  receiver.  Sits 
thoughtfully  for  a  moment.  Suddenly 
remembers  canary,  and  exits  abruptly. 

14.  Medium  shot.  Same  as  scene  9. 
Housewife  enters  scene  from  behind 
camera  and  goes  toward  bird  cage.  Stops 
shortly  as  she  discovers  bird  missing. 

15.  Closeup.  Empty  bird  cage. 

16.  Medium  closeup.  Reverse  shot 
of  scene  14.  Part  of  cage  in  foreground. 
Continuing  action  in  scene  14,  house- 
wife is  looking  for  bird.  Suddenly  looks 
down.  Sees — 

17.  Closeup.  Cat  on  floor  licking 
paws,  etc. 

18.  Medium  shot.  From  same  angle 
as  scene  16.  Housewife  picks  up  cat 
severely  by  scruff  of  neck. 

19.  Closeup.  Housewife,  having 
picked  up  cat,  is  furious — scolding  and 
shaking  finger  at  it. 

20.  Medium  shot — same  as  scene 
14.  Housewife  exits,  carrying  cat. 
Quick  fade-out. 

21.  Medium  shot.  Exterior  of  home. 
Fade-in.  Family  car  in  driveway  near 
house.  Housewife  enters  scene  carrying 
gunnysack  which  evidently  contains 
cat.  She  enters  car,  tosses  bag  in  rear 
seat,  starts  car,  and  as  car  moves  for- 
ward, cut  to — 

22.  Long  shot.  Country  road.  Car 
approaches  and  comes  to  stop  near  cam- 
era. Housewife  gets  out  of  car  with 
sack. 

23.  Medium  shot.  Another  camera 
angle.  Part  of  car  in  foreground.  House- 
wife, carrying  sack,  goes  through  farm 
gate  or  opening  in  fence  and  down  path. 

24.  Closeup.  Small  camp  fire  with 
can  of  coffee  simmering  above  it.  Two 
hot  dogs,  on  a  stick  thrust  into  ground 
near  fire,  are  broiling  nearby.  Pull  back 
camera  (dolly  shot)  to — 

25.  Medium  shot  of  same  scene — 
showing  tramp  beneath  bridge,  seated 
near  camp  fire  beside  a  stream.  He  is 
reading  a  newspaper.  Looks  up  casually 
to  stir  fire,  then  back  to  paper.  As  he 
turns  page  he  spies  screaming  headline 
and  reacts  accordingly.  Cut  to — 

26.  Closeup.  Insert  shot  of  newspa- 
per, showing  headline:  "BODY  STILL 
MISSING  IN  MURDER  MYSTERY!" 

27.7  Long  shot.  Housewife  walks 
very  determinedly  to  bridge  above 
tramp  and  up  to  rail. 

28.  Medium  shot  —  from  below  — 
as  she  looks  down  toward  stream.  She's 
holding  sack  on  rail,  as  though  ready 
to  throw  it  in. 

29.  Medium  closeup.  Same  as  scene 
25.  Tramp  in  middle  of  reaction  to 
news  headline.  Is  reading  intently. 

30.  Medium  closeup.  Same  as  scene 
28.  Housewife  shuts  eyes,  then  drops 
sack  over  rail. 

3 1.  Closeup.  Sack  striking  water  and 
sinking — Quick  cut  to — 

32.  Closeup.  Same  as  scene  29. 
Tramp  hears  splash,  drops  paper  as  he 
sits  up  abruptly,  and  looks  in  direction 


of  splash.  His  eyes  bulge  as  he  says: 
TITLE:  "The  missing  body!" 

33.  Closeup.  Continuing  scene  31. 
Circles  widening  in  water,  etc. 

34.  Closeup.  Continuing  scene  32. 
Tramp  starts  to  rise  cautiously. 

35.  Long  shot.  Same  as  scene  23, 
but  reverse  camera  position,  showing 
housewife  running  down  path  toward 
fence,  and  on  to  car. 

36  Medium  closeup.  Housewife, 
having  just  entered  car,  nervously  closes 
car  door,  presses  starter  button,  and 
quickly  drives  out  of  scene. 

37.  Medium  shot.  Same  as  scene  34. 
Tramp  fishing  for  sack  with  long  stick. 
Finally  retrieves  sack.  Fade-out  as  he 
pulls  it  from  water. 

38.  Medium  shot.  Fade-in.  Interior 
of  hallway  or  parlor  of  home.  Man  (the 
husband)  enters  through  door.  As  he 
removes  his  hat  and  coat  casually,  he 
calls  to  his  wife.  Hesitates  a  moment, 
and  when  he  receives  no  answer  he  ex- 
its to — 

39.  Medium  shot.  Husband  coming 
into  kitchen  (same  room  as  scene  14). 
He  looks  around  room.  Suddenly  hears 
car  coming  into  drive  way  and  indicates 
this  by  suddenly  looking  up  and  toward 
window. 

40.  Long  shot.  Exterior.  Reverse  of 
scene  21.  Car  enters  driveway.  House- 
wife gets  out.  Is  obviously  nervous,  and 
as  she  moves  toward  entrance  of  home, 
she  fumbles  in  pocket  of  house  dress 
and  brings  forth  handkerchief  to  stifle 
a  sob  as  we  cut  to — 

41.  Medium  shot.  Interior  of  kitch- 
en looking  toward  door.  Husband's  fig- 
ure partially  in  foreground.  Wife  en- 
ters, sees  husband,  and  with  anguished 
look,  rushes  toward  him.  Husband 
moves  forward  to  take  her  in  his  arms. 

42.  Medium  closeup.  Continuing 
same  action  as  previous  scene  as  hus- 
band takes  wife  in  arms.  Wife,  sobbing, 
looks  up  at  husband.  Cut  to — 

43.  Closeup.  Same  as  above  —  as 
wife,  sobbing,  looks  up  toward  husband 
and  speaks: 

TITLE:  ".  .  .  and  then  I  drowned 
him!" 

44.  Closeup.  Reverse  shot  of  43. 
Camera  facing  husband.  He  looks 
amused  and  laughs.  Wife  looks  up,  in- 
quiringly. Husband  nods  toward — 

4 J.  Closeup.  Canary  sitting  on 
wife's  freshly  made  cake,  eating  decora- 
tions from  top  of  it.  Camera  pans  down 
to  show — 

46.  Closeup.  Wet  cat  on  floor  wash- 
ing himself.  Iris  out. 

the  end. 

So  that  no  detail  of  this  movie  may 
be  difficult  to  achieve  by  the  average 
amateur,  we  have  previously  explained 
the  terminology  used  in  the  scenario 
and  explained  how  certain  shots,  called 
for  in  the  script,  can  be  made.  Also, 
that  the  insert  shot  of  the  newspaper 


HOMlMm 

miu! 


THE 


STAR  „ 


8mm.  —  16mm. 


f^CWMMA 


Our  National  Anthem  comes 
to  life  with  stirring  scenes  of 
America  in  action!  Words  super- 
imposed over  pictures  for  group 
singing.  The  picture  every  home 
movie  collector  will  cherish! 
Attach  it  to  your  most  treasured 
home  movies! 


LOW  COST 


Please  send  Castle  Films'  "The  Star  Span- 
gled Banner"  trailer  in  the  size  checked. 

8mm.,  n.ooD  16  mm.,  $2.00  □ 

16  mm.  Sound-On-Film,  $3.00  □ 

Name  


Address^ 
City  


PACE  202 


HOME  MOVIES  FOR  AAAY 


DIAGNOSIS: 


PRESCRIPTION     FOR  CURE: 


Any  PhD  (Doctor  o''  P^^o'ogrophy)  will  fell 
you  rtiof  exposure  to  glare  light"  will  de- 
stroy detail,  obscure  vision  and  dilute  color. 
You  don't  stond  a  chance  to  get  o  "perfect  ' 
picture  unless  you're  protected  ogainst  this 
photogrophic  evil  'always  present).  Any  PhD 
(Photogrophic  Dealer^  con  fill  your  prescrip- 
tion for  "perfect"  pictures  in  block  and  white 
ond  porticulorly  in  color  with  MARKS  PO- 
LARIZATION PLATES  -  fhe  on/y  me»hod  to 
lighf  control  without  co/or  obsorpfion.  If  s  os 
necessary  os  an  exposure  meter  ond  a  ronge 
finder.    Wrr»e   for   comprehensive  folder. 

KIN  -  O  -  LUX,  INC. 

105  V,', 40  ST.,NEV/  YORK  CITY 


IT  PAYS  TO  BUY  THE  BEST 
8mm.  BULK  FILM  16mm, 

NOTICE:  Super  Pantnr:  ana  Wir'isrjn  S-tirtd  filrs 
ma  oBvtataiBabIc  until  after  tbt  «ar. 

AM        to  33  ft.  vriee  f«r  tfaylifkt  iM^iaf  ef  Rt 
venal  Filas  wliieli  iacMes  free  prw«nii|. 

SUPER  CINEPAN  REVERSAL— '  - 

Speed  24-16 — LjiT«5(ieT  y^m-Hi^'i:  - 
Dbl.        33  fi.  JLS'': 
I12.f5;  SgL  «— 33  f;.  ~(>t ;  1 
fi-  S'.i'.':  l«niin. — W  ?:    Si.vj;  i-.w 

SUPER   CINEPAN   PLUS   REVERSAL— T- 

DbL    8—33  S:  ' 
Sli-i*:  Sel-  V- 
fi-  l«tE-  . 

CINECHROME  SEHI-ORTriO  REVERSAL 

Dbl.  f^S.?  fi.  S'v:  iw,  f..  S1.K-.:  iOd  !t-  U.' 
Sgl.  «— Ki  ft.  -V:         fi.  $L2«:  4*«  ft.  $4.1^ 
16nini.— IW  ft.  {1-S<i;         fu  K.B*. 
CINE-KODAK  POSITIVE  TITLE  FILM— rB»eott: 

tfd. 

S3.3*: 

Clear-  '  •    SiMcul  B".  .^ 

— >  -ziber. 

C  i  M  r  :  ;     ;  ;  -  -  _  ;  -  .     -  ;  s  S — Eatt" 


No  rtc- 

^  '  E  _  - 

B.\iji  ;  - 

FOTOrAl>Z  DYE 
FOTOFAI)E 
riN-ETINT?  - 

HOilE  MOV 
X'l  til  - 
TITLE  DEVX;.'. 7^.3  -._ 
BEVER,«.\L  PRr>rE?.srN 

«£i  i  :•■  : 
i<"'  ft. 

TITLE  DE^'7. 


roLfiy. 

Li- 


.33 

.U 

3« 

-  IS 

-U 

8.  «Se: 

-\ 

L75 

-3e:  Sei- 

DM.  8 

W.    STUART    BUSSEY    FILM  LAB. 

17  E.  ST    JOSEPH    ST.         ISDiiSAPOLIS.  IND 


(scene  26)  may  present  no  insurmount- 
able problem,  it  is  already  prepared  and 
printed  at  the  beginning  of  this  article. 
It  is  esfvecially  reduced  to  size  to  facili- 
tate shooting  in  a  typewriter  titler,  be- 
ing the  same  size  as  the  titles  appearing 
regularly  each  month  in  Home  Mo\tes. 
Merely  cut  it  out  and  paste  on  stiff 
cardboard.  Insert  in  titler,  and  shoot, 
following  the  customary'  exposure  for 
titles. 

To  conserve  film  and  eliminate  ne- 
cessity for  retakes,  it  is  advisable  to 
carefully  rehearse  and  time  each  scene 


before  actually  shooting  it.  WTiile  it  is 
disastrous  not  to  shoot  enough  of  a 
scene,  still  it  is  very  easy  to  overshoot 
action,  making  for  a  "dragg}',"  unin- 
teresting picture. 

Much  of  the  success  of  continuities, 
like  "Cake,  Cat  and  Canar>',"  depends 
upon  deft  cutting  at  the  editing  board. 
Care  should  be  taken  that  none  of  the 
scenes  runs  longer  on  the  screen  than 
the  action  justifies.  Keep  the  action 
moi  ing  and  you  will  have  a  successful 
picture. 


3 dm  A    Oliver  T)wUt\ 


•  Coniinmed  from  Psge  192 

second  helping  of  mush  in  the  work- 
house, his  slaven,-  to  the  casket  maker, 
his  escape  to  London  and  his  discover)- 
by  cruel  Bill  Sikes — all  are  admirably 
pictured.  Sikes  takes  Oliver  to  Fagin, 
mentor  of  a  gang  of  youthful  thieves 
and  pickpockets.  The  lad  is  used  by 
house  breakers  to  make  entr)-  into  a 
wealthy  home,  but  he  is  caught  and  be- 
friended by  the  family.  The  sinister 
-Monk  runs  through  the  picture  as  the 
villainous  enemy  of  Oliver,  always 
seeking  to  put  him  out  of  sight  and 
menace  to  a  legacy  rightfully  his,  but 
claimed  by  Monk.  The  storj-  is  so  well 
known  it  is  not  necessan'  to  relate  it 


fully  here.  Suffice  it  to  say  that  Bradlej' 
retold  the  complicated  narrative  ac- 
curately with  picture  action  and  sub- 
titles, of  which  there  were  a  profusion 
throughout  the  production.  In  addition 
he  chose  recordings  for  a  musical  ac- 
companiment that  appropriately 
throughout  fits  the  mood  and  tempo  of 
the  picture. 

The  players  built  eight  sets  for  the 
movie  and  ^jsed  a  total  of  48.  Several 
members  ox  the  company  helped  with 
casting,  while  others  were  in  charge  of 
costuming  and  other  technical  details. 
WTiatever  a  costumer  or  the  North 
Shore  Countn-  Dav  School  wardrobe 


Movie  of  the  Month 


•  Each  month  the  ec.rors  of  hOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  AAonth."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  tfie  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
nonor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1  941 

JUNE:  "Tropical  Ecstasy,"  produced 
by  Dr.  Roy  L.  Cerstenkom,  Beverly  Hills, 
Calif.  A  16mm  Kodachrome  production, 
350  feet  in  length. 

JULY:  "Within  These  Hills."  pro- 
duced by  J.  Glenn  Mitchell,  joplin.  Mis- 
souri. A  16mm  Kodachrome  picture. 
800  feet  in  length,  with  sound  on  disc 
recording. 

AUGUST:  "Dedication."  produced  by 
Alex  W.  Morgan.  Toledo.  Ohio.  An  8mm 
Kodachrome  picture.  400  feet  in  length. 

SEPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Wamer  Seely, 
Cleveland.  Ohio.  A  16mm  Kodachrome 


p.cTure,        feet  m  length. 

OCTOBER:  "Cock  and  Bull  Stories." 
produced  by  J.  O.  McCracken,  Giendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

DECEMBER:  "Do  It  Again.  Hanry. " 
produced  by  Herman  Bartel.  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26."  produced 
by  Leo  Caloia,  Los  Angeles.  Calif.  A 
16mm  picture.  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosem  te 
Tells,"  produced  by  George  L.  Ranki- 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy."  produced  by 
Ted  Geurts.  Salt  Lake  City.  Utah.  A 
1 6mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch.  '  pro- 
duced by  RolarKi  Ray.  Los  Angeles. 
Calif.  An  8mm.  picture.  4CC  ^ee*^  n 
length. 

MAY:  "Oliver  Twist."  prrc-cec 
David  E.  Bradley,  Winr»etka.  !    ro  s.  A 
16mm.    picture  approximateiy 
feet  in  length. 


HOME  MOVIES  FOR  MAY 


PAGE  203 


room  couldn't  provide,  Bradley's  moth- 
er was  prevailed  upon  to  design  and 
seam.  Make-up  was  entirely  handled  by 
the  amateurs. 

Photography  was  handled  by  Bradley 
and  two  assistants,  Dick  Roth  and  Bill 
Benoist.  At  least  half  of  the  sequences 
were  filmed  under  artificial  light  and 
were  illuminated  to  sustain  the  mood 
suitable  to  the  action.  Few  complicated 
photographic  techniques  were  employed, 
emphasis  being  laid  on  a  straight-for- 
ward approach  without  benefit  of  tech- 
nical intricacies.  Fades  were  made 
chemically  and  represented  one  of  the 
few  weaknesses  of  the  picture,  inasmuch 
as  all  were  generally  too  long  and  in 
many  cases  slowed  down  the  action. 
Serving  also  as  editor,  Bradley  demon- 
strated a  deftness  of  touch  in  cutting 
and  editing  that  would  do  credit  to 
professionals.  His  job,  however,  was 
much  simplified  by  planning  every  shot 
and  sequence  in  detail  before  the  camera 
turned. 

Many  incidents  which  happened  while 
the  picture  was  in  production  now  pro- 
vide amusement  as  the  players  recall  the 
fun  of  last  summer,  although  some  of 
the  occurrences  at  the  time  were  some- 
thing less  funny.  On  one  occasion  the 
cast  walked  into  the  wrong  house  and 
began  dressing.  Another  time  the  as- 


sistant director  had  to  go  into  a  lake 
fully  clothed  three  times  to  bring  out 
the  properties.  Armed  with  lights,  cam- 
eras, etc.,  on  still  another  occasion,  the 
technical  staff  inadvertently  broke  in 
on  a  wedding  at  a  swank  country  club. 
At  one  time  a  girl  fell  off  a  low  roof 
but  luckily  escaped  without  serious  in- 
jury, although  creating  apprehension 
among  the  frightened  onlookers.  "In 
three  successive  episodes  on  one  'quiet' 
Sunday  afternoon,"  relates  one  of  the 
cast,  "we  murdered  Nancy  Sikes, 
drowned  the  dog  and  hanged  a  man 
from  the  roof  of  our  house.  I  don't 
know  when  we've  had  a  pleasanter 
Sabbath." 

From  the  standpoint  of  professional 
standards,  the  production  naturally  has 
shortcomings,  but  all  are  overshadowed 
by  the  over-all  success  of  the  enterprise 
which  is  without  doubt  the  first  amateur 
attempt  to  produce  a  multiple-reeled 
picturization  of  a  novel.  Of  particular 
interest  to  the  thousands  of  movie  am- 
ateurs who  "some  day  would  like  to  film 
a  real  story,"  Bradley's  "Oliver  Twist" 
is  a  demonstration  of  the  type  of  imagi- 
nation and  energy  that  triumphs  over 
limitations.  The  experience  he  has  gained 
has  definitely  equipped  him  for  further 
successes  in  the  field  of  motion  pictures. 


3oreit  conservation  l^ilmA  .  .  . 

•  Continued  from  Page  i8j 


kan,  head  of  the  California  Institute  of 
Technology,  has  stated:  "The  use  of  fag 
bags  as  a  means  of  reducing  the  forest 
fire  hazard  from  careless  smokers  seems 
to  me  to  be  not  only  ingenious  but 
psychologically  sound."  Imaginative 
filmers  will  readily  see  the  possibilities 
in  the  fag  bag  as  the  theme  for  a  forest 
conservation  movie. 

The  fact  this  amateur  movie  project 
arises  from  the  Southern  California  di- 
vision of  the  U.  S.  Forest  Service  in  no 
way  labels  it  a  local  movement  to  be 
engaged  in  solely  by  filmers  in  that 
area.  As  already  stated,  there  are  i6o 
national  forests  scattered  the  length 
and  breadth  of  the  United  States,  all 
contributing  vital  materials  for  defense. 
Movie  amateurs  in  every  part  of  the 
country  are  therefore  in  a  position  to 
enlist  their  time,  film  and  equipment 
in  the  production  and  exhibition  of  for- 
est conservation  films. 

The  term  "enlist"  is  used  broadly 
here,  for  actually  there  is  no  require- 
ment for  any  filmer,  desiring  to  enter 
this  filming  project,  to  sign  up  with 
any  one.  All  that  is  necessary  is  to  make 
up  one's  mind  to  produce  the  film,  then 


proceed  with  filming,  editing  and  titl- 
ing the  picture,  and  afterward,  screen- 
ing it  before  as  many  people  as  possible. 

As  sponsor  of  the  National  Forests 
Conservation  Filming  Project,  Home 
Movie's  will  afford  every  interested  am- 
ateur filmer  technical  assistance  and 
advice.  First  requirement  of  course  is 
the  scenario  or  shooting  script.  Home' 
Movies  has  engaged  a  professional  Hol- 
lywood screenwriter  to  prepare  this, 
and  the  complete  script  will  appear  in 
the  June  issue  with  full  scene  by  scene 
description  of  action,  camera  angles,  etc. 

In  the  mean  time,  interested  movie 
amateurs  may  wish  to  do  some  research 
on  the  subject.  To  those,  we  suggest 
writing  the  U.  S.  Department  of  Agri- 
culture, Forest  Service,  addressing  the 
Department  either  in  his  respective 
State  or  directly  at  Washington,  D.  C, 
and  requesting  a  copy  of  the  govern- 
ment booklet,  "New  Forest  Frontiers." 
This  booklet  will  be  mailed  without 
charge  and  contains  much  inspiring 
data  helpful  to  the  amateur  planning  a 
conservation  film. 

Keeping  in  mind  as  the  theme  of  your 
picture  that  over  90  per  cent  of  forest 
fires  are  man-caused,  and,  therefore, 
preventable,  here  are  some  additional 


When  you  want 

a// 

the  picture  use  the 

CIXE 
EXTE]\AR 


You'll  get  the  full  scene  without 
having  to  move  the  camera  back. 
Just  fit  the  Cine-Extenar  right 
over  your  regular  lens — and  shoot. 
It's  American  made  with  the  same 
high  standards  of  precision  as  fin- 
est camera  lenses.  Easy  and  simple 
to  use  —  amplifies  the  perform- 
ance of  your  regular  8mm.  lens — 
gives  you  the  same  speed  and  defi- 
nition PLUS  your  wide  angle. 

Wrife  for  illusfrafed  folder  giving 
make  and  description  of  your  present 
8mm.  lens. 


Mail  Orders  Filled 


32nd  St.,  near  6th  Ave..  N.  Y. 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 

Established  1898 


PACE  204 


HOME  MOVIES  FOR  MAY 


nno  moviE  rccessorks 

CAT  n  LOC 


1942 


GET  THIS  FREE  BOOK!  Every  Home 
Movie  Fan  Should  Have  It  .  .  .  Brand  New  .  .  . 
just  out!  Chuck  full  from  cover  to  cover  with 
the  choicest  bargains  you  ever  heard  of  .  .  . 
Including  ESSCO  double  8mm  and  16mm  HOME 
MOVIE  FILM  as  low  as  SI. 00  per  Roll,  including 
Processing. 

Also  Bulk  Film,  processing  rates,  etc.  Dozens  of 
daily  needed  items  and  accesso'Mes.  screens,  reels, 
tillers,  etc..  including  BIG  NEW  LIST  of  166 
FILM  SUBJECTS,  glamour  films,  cartoons,  west- 
erns, historical,  adventure  and  sports  films  for 
8mm  and  16mm  projectors. 

SEND  FOR  THIS  FREE  BOOK  TODAY 
Keep   it   for   ready   reference.   Your   name  on 
a  postcard  brings  it  by  return  mail  FREE! 


£d4co  ^dm  P^UidudU 

6117  S.Campbell  Av.DuB  Chicago 


★★★★★★★★★★★★★★★★★★★★★★★★★★★ 


4 


GREAT  HITS 
by  Hal  Roach 


THERE  GOES  MY  HEART 

Fredric  March,  Virginia  Bruce.  Extra! 
Dashing  reporter  clashes  with  head- 
strong heiress!  Does  he  get  his  story? 
Does  she  hold  on  to  her  heart? 

TOPPER  TAKES  A  TRIP 

Constance  Bennett,  Roland  Young.  A 
beautiful  "ectoplasma-girl"  leads  Top- 
per a  merry  chase!  Laughs!  Unusual 
camera  tricks. 

ZENOBIA  (An  Elephant  Never  For- 
gets) 

Oliver  Hardy,  Harry  Langdon,  Billie 
Burke,  Alice  Brady,  Hall  Johnson  Choir. 
Gay!  Original!  Hilarious!  Has  Zenobia 
a  phobia? 

CAPTAIN  FURY  (available  June  i, 
1942) 

Brian  Aherne,  Victor  McLaglen.  Aus- 
tralia's Robin  Hood  rides  again — fight- 
ing for  freedom,  in  this  thrilling  adven- 
ture tale.  Action! 


I 


All  feature  length — in  16mm.  Sound 
New  7942  Catalogue  sent  on  request 
Write  today! 


1 


POST  PICTURES  CORP. 

723  Seventh  Ave.,  Dept.  14,  New  York 


facts  which  every  film  should  empha- 
size: Carelessness  on  part  of  smokers 
and  campers  cause  33%  of  the  fires; 
malicious  incendiarism  2  5  ;  negligence, 
such  as  brush  burning,  etc.,  18%;  other 
man-caused  fires — mostly  preventable, 
17%;  and  lightning,  y'/',  .  There  are  tre- 
mendous dramatic  possibilities  for  the 
imaginative  filmer  in  showing  how  a 
single  smoldering  cigarette  can  destroy 
a  forest,  depriving  America  of  needed 
materials  and  vital  industries  of  power 
needed  for  our  all-out  war  effort. 

Forest  Defense  Coordinator  Wm.  V. 
Mendenhall,  in  entrusting  sponsorship 
of  this  important  defense  filming  pro- 
ject to  Home  Movies  said  he  is  confi- 
dent of  a  nation-wide  participation. 
"Much  of  America's  war  work,"  said 
Mendenhall,  "depends  upon  how  well 


the  four  strategically  located  front-line 
forests  are  protected  against  fire.  Such 
protection  lies  in  the  hands  of  our  ci- 
vilians, many  of  whom  do  not  fully 
realize  their  responsibility.  Motion  pic- 
tures, and  especially  those  produced  by 
amateur  groups,  can  do  more  than  any- 
thing else  to  make  the  average  citizen 
conscious  of  his  responsibility.  We 
would  be  glad  to  assist  participating 
clubs  and  individual  filmers  by  going 
over  their  scenarios  and  furnishing  any 
information  desired." 

Amateurs  planning  a  film  for  this 
project  and  desiring  to  consult  with  Mr. 
Mendenhall  may  address  him  in  care  of 
the  U.  S.  Department  of  Agriculture, 
Forest  Service,  Federal  Building,  Los 
Angeles. 


J4ome  Aound  recording  .  .  . 


•  Continued  from  Page  19) 

ly  important  in  order  to  accomplish  this 
successfully.  First,  it  is  necessary  to 
glue  some  thin  felt  pads  on  the  back  of 
the  12-inch  disc  to  avoid  damaging  the 
face  of  the  larger  record.  Second,  the 
turntable  motor  must  be  powerful 
enough  to  carry  the  added  load  and  not 
suffer  loss  of  speed  after  the  second  rec- 
ord is  dropped  over  the  spindle. 

Our  edited  film  has  a  one-second 
fade-out  and  a  corresponding  fade-in 
between  sequences,  so  we  had  only  to 
time  the  recording  to  bring  the  needle 
shifting  process  during  one  of  those 
fades.  We  likewise  made  a  music  trans- 
ition at  that  point  in  our  score  and  the 
narrator  was  silent. 

Just  as  we  were  acclaiming  ourselves 
a  successful  cine-sound  club,  we  read 
Mr.  Amador's  letter  in  January  "Home 
Movies"  wherein  he  expressed  a  wish  for 
someone  to  produce  sound-on-disc  for 
silent  films  at  a  moderate  cost.  We  im- 
mediately set  about  figuring  the  cost  of 
our  own  master  production. 

The  play-back  equipment  represent- 
ed a  cash  outlay  of  $28.40.  This,  of 
course,  is  capital  investment  and  will 
serve  our  purpose  for  years.  It  is  dis- 
tinctly a  home-made  job  but  it  gives 
sound  fidelity  equal  to  the  best  factory- 
built  equipment  used  in  our  local  radio 
station.  The  same  motor,  turntable  and 
pick-up  which  I  used  are  advertised  by 
a  reputable  distributor,  already  assembled 
in  a  cabinet  at  $49,50.  This,  however, 
does  not  include  the  oscillator  unit  for 
playing  through  the  radio  by  wireless, 
but  it  can  be  wired  directly  into  any 
good  radio. 

The  two  platters  or  discs  which  we 
cut  for  this  22  minute  job  cost  us  $3.00 
and  we  charged  off  $1.00  for  electricity 


used  in  the  repeated  playing  of  records, 
rehearsing  the  film  and  script,  and  do- 
ing the  recording. 

We  made  no  effort  to  evaluate  the 
time  spent  on  the  job.  We  estimated 
that  the  entertainment  value  to  all  of 
us  far  exceeded  any  that  might  be  placed 
on  the  time  consumed.  Neither  did  we 
list  as  liabilities  the  temporary  loss  of 
social  prestige  through  alleged  negli- 
gence of  family  and  social  obligations. 
And  we  are  making  no  public  statement 
regarding  the  cost  of  errors  in  our  earlier 
productions  nor  of  records  that  slipped 
off  the  table  to  oblivion. 

It  is  my  prediction  that  we  shall  soon 
hear  of  the  organization  of  other  "cine- 
sound"  clubs.  For  the  benefit  of  movie 
makers  interested  in  such  an  organiza- 
tion I  would  suggest  that  the  club  in- 
clude in  its  membership  someone  with 
a  working  knowledge  of  the  technique 
involved  in  cutting  records,  as  well  as 
one  or  more  persons  who  have  sufficient 
music  appreciation  to  readily  distinguish 
between  a  largo  and  a  tarantella.  There 
is  also  a  place  in  the  membership  for  a 
few  people  who  perhaps  know  nothing 
whatever  about  movie  making,  music, 
or  sound  recording  but  who  have  normal 
human  reactions  toward  the  finished 
production. 

Referring  to  my  notes  I  find  the  fol- 
lowing thoughts: 

Cuts,  fades  and  overlaps  are  as  much 
a  part  of  sound  recording  technique  as 
they  are  of  good  filming  and  editing. 
A  careful  scoring  of  music  is  of  tremen- 
dous importance.  A  slow  waltz  or  a  tone 
poem  has  little  place  in  a  film  with  an 
abundance  of  fast  action.  Nor  will 
"boogey  woogey"  music  add  anything 
to  landscapes,  beautiful  flowers,  or  ro- 
mantic sequences. 


HOME  MOVIES  FOR  MAY 


PACE  205 


you  A  I 

I  riLM  VALUES  ? 

 ..MfM////////. 


The  double  turntable  operating  at 
governed  speeds  of  both  33-1  /  3  r.p.m. 
and  78  r.p.m.  is  worth  while  if  you  can 
afford  it. 

I  bought  the  best  crystal  pick-up  arm 
in  the  catalog  and  will  never  regret  the 
cost;  for  it  has  a  fidelity  range  consid- 
erably greater  than  most  phonographs. 
One  should  be  sure  that  the  weight  of 
the  needle  on  the  disc  does  not  exceed 
2  5-4  ounces,  else  the  acetate  disc  used  in 
recording  will  be  cut  to  pieces  in  no 
time. 

In  selecting  music  try  to  stick  to  the 
12-inch  recordings  that  will  play  four 
to  five  minutes.  If  a  selection  is  not 


available  in  a  12-inch  record  it's  best 
to  forget  it. 

A  12-inch  transcription  cut  at  33-1/3 
r.p.m.  will  provide  up  to  ten  minutes  of 
sound. 

If  voice  is  to  be  recorded  with  musical 
background  one  should  avoid  dramatic 
overtures  and  orchestrations  filled  with 
frequent  crescendos  and  diminuendos. 

Using  recordings  by  several  different 
orchestras  for  the  same  film  should  be 
avoided.  Best  results  will  come  from  us- 
ing music  by  the  same  composer  and 
recorded  by  the  same  orchestra  through- 
out the  picture. 


^i^^uiion — when  to  uie  it... 


•  Continued  from  Page  186 

improved  by  the  use  of  diffusion. 

How  is  true  diffusion  secured?  Well, 
today  there  are  diffusion  discs  available 
which  may  be  placed  before  the  camera 
lens  similar  to  a  filter.  These  discs  are 
of  optical  glass,  the  surface  of  which  is 
treated  by  various  methods  to  impart  a 
degree  of  diffusion  without  distorting 
image. 

But  before  diffusion  discs  were  intro- 
duced, the  professional  cinematograph- 
er  made  his  own  soft  focus  devices  of 
simple  materials,  a  procedure  recom- 
mended here  for  the  exploring  amateur 
filmer  to  follow.  When  diffusion  was 
first  introduced  by  Hollywood  camera- 
men, they  made  their  own  diffusion 
mattes  out  of  a  piece  of  fine  black  gauze 
and  of  cardboard  from  which  they  fash- 
ioned the  frame.  Most  amateurs  are 
familiar  with  the  term  "matte  box." 
This  device  served  to  hold  the  soft  fo- 
cus mattes  and  filters  before  the  lenses 
of  cameras  of  early  day  cinematog- 
raphers. 

Your  soft  focus  or  diffusion  mattes 
can  be  easily  made  from  the  same  ma- 
terials. There  are  many  kinds  of  gauze 
fabrics  available,  each  of  which  will 
produce  a  different  degree  of  soft  focus 
effect.  The  coarser  the  thread  in  the 
gauze,  the  more  pronounced  the  diffu- 
sion. A  piece  of  sheer  silk  ladies  hose 
may  be  used  for  one  type  of  effect  while 
a  piece  of  ordinary  cheesecloth  will  serve 
effectively  for  a  more  pronounced  effect. 
The  most  ideal  material  for  this  pur- 
pose, however,  is  that  selected  by  the 
professionals — black  silk  gauze.  And 
you  can  obtain  a  small  piece  of  this  ma- 
terial— probably  a  remnant — from  your 
local  department  store. 

Next  you  must  decide  how  you  will 
affix  the  diffusion  matte  before  the  lens. 
If  you  have  constructed  a  matte  box 
and  sunshade  for  your  camera  that  will 


take  2"xi"  square  filters,  then  your  dif- 
fusion matte  may  be  designed  accord- 
ingly. Simply  cut  a  2"  square  from  a 
stout  piece  of  cardboard;  measure  in 
'74"  from  each  side  and  cut  out  the  cen- 
ter. Apply  an  adhesive  to  one  side  of  the 
frame  and  lay  the  piece  of  gauze  over  it, 
stretching  the  gauze  all  around  and  se- 
curing with  thumb  tacks  until  the  ad- 
hesive becomes  dry.  Afterward,  the  sur- 
plus gauze  may  be  trimmed  and  the 
matte  thus  made  ready  for  use. 

Another  method  is  to  cut  a  section 
from  a  cardboard  tube  of  the  size  that 
will  readily  fit  over  the  camera  lens, 
and  draw  a  piece  of  gauze  taut  over  one 
end,  securing  it  in  place  with  adhesive 
tape. 

The  next  thing  to  consider  is  the 
proper  distance  to  place  the  gauze  from 
the  lens.  Placing  it  close  to  the  lens  will 
produce  little  or  no  diffusion  and  set- 
ting it  too  far  away  will  cause  the  lens 
to  pick  up  a  distinct  pattern  of  the 
gauze.  While  it  is  true  that  the  distance 
of  the  gauze  from  the  lens  determines 
the  degree  of  diffusion,  it  has  been  found 
that  placing  it  one  inch  before  the  front 
element  of  the  camera  lens  will  produce 
the  ideal  soft  focus  effect.  At  any  rate, 
interested  amateurs  can  use  this  as  the 
starting  point  and  conduct  experiments. 

As  use  of  diffusion  mattes  reduces  the 
amount  of  light  reaching  the  film,  it 
will  be  necessary  to  compensate  for  this 
by  increasing  exposure.  Figure  the  nor- 
mal exposure  for  the  film  you  are  using, 
then  open  the  lens  one  full  stop  wider 
to  compensate  for  the  gauze. 

Students  of  diffusion  will  recall  the 
partially  diffused  effects  seen  in  profes- 
sional movies — scenes  in  which  the  cen- 
ter appears  sharp  and  only  the  edges  dif- 
fused. This  is  accomplished  by  cutting 
a  hole  in  the  exact  center  of  the  gauze 
matte — the  size  of  which  will  depend 
entirely   upon    the   diameter   of  your 


.  .  .  answer  fhese  questions 

1  what's  the  difference  in  quality  be- 

•  tween  KIN-O-LUX  and  any  other  film  ^ 
—  no  matter  what  the  price  • 

2  What's  the  difference  in  cost  between  ^_ 
KIN-O-LUX  and  any  other  film  of  y 
comparable  quality  • 

2  What's  the  difference   in   real   movie  _ 

*  enjoyment    between    KIN-O-LUX  and 
any  other  film  you  have  used  • 

if  you  can't  .  .  . 


'you'RB  NOT  GET-  | 
riH&THENVOST  | 

/AOVIE  MON^y  .  I 


A  good  judge  —  or  for  that  matter  —  a 
connoisseur  in  any  field  tries  every  product 
before  acclaiming  one  the  best.  Have  you 
tried  KIN-O-LUX  MOVIE  FILM?  Most  users  of 
KIN-O-LUX  hove  tried  other  films  -  that's 
why  they've  switched  —  and  for  good  —  to 
KIN-O-LUX.  For  speed  and  latitude  to  "get" 
the  picture  and  fine  grain  for  projection 
quality  —  at  lower  prices  than  you  pay  for 
any  other  film  of  comparable  quality 

 FOR    YOUR    VERY  NEXT  


ROLL   OF  FILM 


TRY 


KIN-O-LUX 

MOVIE  FILMS 

4  DIFFERENT  DISTINCTIVE 
FILMS  FOR  EVERY  PURPOSE 


Outdoor 

Weston  8;  Scheiner  18° 
$3.20-100  ft. 

Outdoor 

Weston  12;  Scheiner  20° 
$3.75-100  ft. 

Indoor  -  Outdoor 

Weston  50;  Tung.  40 
Scheiner  26  ;  Tung.  24 
$6.00-100  ft. 

3.  GOLD  SEAL  fndoor  Only 

Weston  100;  Scheiner  29° 
(No  Outdoor  Ratings) 
$6.40-100  ft. 


KIN-O-LUX    •    105  W.  40  ST.    •    NEW  YORK 


PAGE  206 


HOME  MOVIES  FOR  MAY 


camera  lens.  Obviously  if  the  diameter 
of  the  front  element  of  an  f  3.5  lens 
measures  no  more  than  Y4",  a  hole  Yz" 
or  more  in  diameter  would  render  the 
diffusion  matte  ineffective  as  a  hole  this 
size  would  be  larger  than  the  coverage 
of  the  lens  at  this  point.  Where  partial 
or  "border"  diffusion  is  desired,  the  best 
method  is  to  use  a  larger  diffusion  matte 
farther  away  from  the  lens  so  that  size 
of  the  center  opening  may  be  judged 


more  accurately  before  cutting  gauze. 

Amateur  filmers  can  obtain  fog  ef- 
fects by  the  same  process  except  that  the 
silk  gauze  must  be  white  instead  of 
black.  One  important  p>oint  to  be  re- 
membered is — don't  let  the  sun  strike 
the  gauze  matte.  If  this  happens,  then 
the  same  effect  will  occur  as  when  tlie 
sun's  rays  strike  the  lens.  For  this  reason 
it  is  advisable  to  have  the  diffusion 
matte  also  protected  by  a  sunshade. 


.  .  .  "BUT  WHERE'S 

THE  REST  OF  IT?" 

Do  they  say  that  about  YOUR  pictures?  Do 
you  explain  that  you  "Just  couldn't  get  the 
camera  back  far  enough."  Then,  you  need 
this  new  accessory  lens.  It  gets  all  the  sub- 
ject right  into  YOUR  picture — without 
having  to  move  the  carr.era  back.  It's  the 

CINE  EXTENAR 

.  .  .  that  fits  right  over  your  regular  taking  lens  and 
makes  it  a  vide  angle. 


c^inimation  ^or  de^enie  ///mi 


CINE  EXTENAR 

An  American  made,  supplementary  lens  to 
the  precision  standards  of  the  finest  camera 
lenses.  Simply  screw  it  on  and,  PRESTO! — 
you  have  a  wide  angle  lens  of  identical  speed 
and  definition.  No  special  focus  adjustment 
required  with  CINE 

EXTENAR   $27.50 

Write  for  illustrated  folder,  giving  mak;e  and 
description  of  your  present  8mm.  lens 

CAMERA  SPECIALTY  CO. 

46  West  29th  St.  New  York 


16mm.  AMBERTINT 

100  feet  ....  S2.50 

f  Weston  S 

Guaranteed  maehine  processing.  Finegrain.  wide  lati- 
tude. Plenty  of  speed  for  outdoor  filming  under  ordi- 
nary light.  Tinted  base  makes  it  eieellent  for  the 
titling  of  Kodaehrome  films. 

HOLLYWOODLAND  STUDIOS 

South  Gate.  Calif. 


9320  California  Ave. 


PB   MOVIE  KIT  for  COLORFILM 

S4.7.5  COMPLETE 
1  PE  Ler.i  Shade  and  Fii-.t-  Ho,ir.-. 
1  PB  Haze  Filter  I  for  Kodaehrome/. 
1  PB  Conrersicrti  Filter   'for  coDTening  Type  A  If 

daylight  t , 
]  PE  Filter  Pouch 

For  All  Standard  Makes  of  Smm's 
PONDER  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles.  Calif. 


'^hcn    You    Buy  BAIA 
You  Buy  the  Best 

Precision  Made: 
Gnarant«ed  Perfect 

S2.50 

From  Your  Dealer  or  Direct 
BAI.%  MOTTON  PICTfEE  ENG. 
IOC  Victor 
Hiehland  Park.  Michiran 


•  Continued  from  Page  ;ij 

the  light  rays  to  "bounce"  back  and 
into  the  lens. 

Viih  the  Victor  Model  3  camera,  no 
auxliiar}'  lens  was  required.  The  regular 
one-inch  f  3.5  Wollensak  lens  was  used 
and  it  was  focused  sharply  on  the  base 
by  unscrewing  it  slightly  more  than  two 
complete  turns  from  the  "infinity"  po- 
sition to  between  "infinity"  and  the 
30  ft.  mark.  This  was  found  to  pro- 
duce sharp  focus  at  17  inches — the  dis- 
tance from  lens  to  base.  Vhere  this  op- 


eration is  not  practical  with  other  cam- 
eras, then  the  use  of  a  suitable  auxiliary 
lens  before  the  camera  lens  will  give 
good  results,  the  same  as  in  title  making. 

Animation  in  motion  pictures  is  pro- 
duced by  photographing  consecutively, 
a  series  of  drawings.  These  drawings  are 
not  made  on  paper  but  on  sheets  of  cel- 
luloid otherwise  known  as  "cells."  The 
reason  transparent  cells  are  used  is  that 
they  eliminate  the  necessity  of  dupli- 
cating much  of  the  detail  in  the  No. 


J4ow  to  win  a 


TROPHY! 


Really  it's  vtry  easy.  All  you  have  to  do  is  get  busy  and  make  a  movie. 
Photograph,  edit  and  title  it  well,  then  enter  it  in  Home  Mo\7ES  1942 
Annual  Amateur  Contest.  If  it's  good,  you'll  win  a  trophy. 

HOME  MO\TES'  1942  Amateur  Contest  is  now  in  full  swing! 
Although  contest  does  not  close  until  September  30th,  already  many  ex- 
ceptionally fine  entries  have  been  filed. 

Don't  wait  until  closing  months  of  contest  to  get  started.  Plan  your 
story  now.  Develop  that  filming  idea.  Get  your  camera  into  action.  Then 
you'll  have  more  time  for  editing  and  titUng — to  put  the  "finishing" 
touches  on  your  film  that  so  often  spells  success  for  an  entrj'. 

The  Lloyd  Bacon  Trophy  is  the  big  prize  to  shoot  for.  Then  there  are  1 6 
other  trophies — a  total  of  17  awards  in  all.  So  get  h\xs\.  And  remember, 
even,'  amateur  movie  maker  has  a  chance  to  win.  HOME  MO\  lES' 
Annual  Amateur  Contest  offers  the  beginner  equal  opportunity  with 
the  seasoned,  advanced  amateur. 

Submit  your  entn,-  as  soon  as  ready.  It  will  be  reviewed  and  entered, 
and  returned  to  you  promptly,  subject  to  recall  for  review  at  close  of 
contest  if  necessar\-. 


J4ome  y\iovie^ 


6060  Sunset  Blvd. 


Hollywood,  Calif. 


HOME  MOVIES  FOR  MAY 


PACE  207 


I  or  "basic"  drawing  which  usually 
contains  the  background  over  which 
the  action  is  to  take  place.  The  cells 
carrying  the  successive  action  are  mere- 
ly laid  over  the  No.  i  drawing,  or  the 
preceding  cells,  thus  adding  the  next 
step  to  the  action. 

One  feature  not  shown  in  the  draw- 
ing (Fig.  2)  is  the  register  pins  on  the 
base.  These  match  in  dimensions  the 
holes  in  the  celluloid  panels  or  "cells," 
as  they  are  more  commonly  known,  in- 
suring accurate  placement  or  registry 
of  each  when  placed  in  position  to  be 
photographed. 

The  cells,  if  they  are  to  be  used  on 
a  stage  similar  to  the  one  we  have  de- 
scribed here  and  which  is  illustrated  in 
Fig.  2,  should  be  cut  6"-x.j"  in  size 
The  area  in  focus  at  a  distance  of  17" 
is  5  5/8"x6%".  The  additional  area  is  al- 
lowed for  margin,  also  provides  space 
for  punching  holes  for  the  register  pins. 
These  holes  must  be  punched  clean  and 
of  a  size  to  fit  register  pins  without 
play.  Lacking  facilities  for  punching 
the  holes,  a  local  printer  can  be  pre- 
vailed upon  to  do  the  job  as  most  of 
them  have  a  paper  punching  device  in 
their  bindery.  In  order  to  insure  the 
required  fit  with  register  pins,  it  may 
be  advisable  to  ascertain  source  of 
punching  in  advance,  measure  size  of 
hole  obtainable,  and  then  have  register 
pins  made  of  corresponding  size. 

The  smaller  6"x7"  cell  is  suggested 
for  amateur  animation  work  for  two 
reasons:  first,  it  cuts  down  cost  of  the 
cells;  second,  the  average  amateur  ani- 
mation project  does  not  require  the  lar- 
ger sketching  area  used  by  the  profes- 
sional. Professional  cells  are  standard, 
cut  uniformly  9"xi2"  in  size  with  the 
register  pins  set  "5"  apart,  as  shown  in 
Fig.  3.  Cell  area,  however,  is  something 
the  amateur  must  decide  for  himself. 
But  the  details  as  to  gauge  of  the  cellu- 
loid register  holes,  method  of  applying 
inks  and  colors,  the  type  pens  to  use, 
etc.  given  here  will  apply. 

In  order  to  make  the  necessary  draw- 
ings and  to  trace  or  "ink  in"  the  cells  so 
that  each  will  be  in  register  with  the 
others,  a  suitable  drawing  board  must  be 
constructed  and  fitted  with  register 
pins  the  same  as  on  the  shooting  stage. 
A  regulation  drawing  board  for  anima- 
tion is  shown  in  Fig.  3,  and  may  be  con- 
structed by  the  average  movie  amateur. 

This  board  is  practically  the  same  as 
an  ordinary  drawing  board  except 
there's  a  window  fitted  into  it  and  it's 
tlted  conveniently  with  a  light  beneath. 
The  glass  fixed  in  the  opening  should 
be  frosted.  The  pegs  or  registry  pins 
can  be  made  of  metal  and  fitted  to  a 
metal  ferrule  or  base  which  may  be 
screwed  to  the  board  over  the  window, 
as  shown.  Wooden  pegs  or  dowels  are 
not  recommended  because  wood  swells 
and  would  frequently  make  it  impos- 


sible to  slip  the  cells  over  them.  The 
cells,  you  see,  must  fit  the  registry  pins 
snugly  to  insure  accurate  alignment  of 
the  drawings  while  being  photographed. 

The  only  real  expense  item  in  con- 
nection with  animation  is  the  cells. 
With  priorities  in  effect,  they  may  not 
be  so  readily  available.  But  if  celluloid  is 
unobtainable  at  stationery  stores,  it  can 
probably  be  had  and  in  the  correct 
gauge  from  the  nearest  branch  of  the 
Celluloid  Corporation,  whose  officies  are 
located  in  principal  cities.  The  correct 
gauge  is  .005.  Celluloid  sheets  lighter 
in  weight  may  give  trouble  through 
buckling,  thus  reflecting  light  into  the 
lens. 

Regular  waterproof  inks  should  be 
used,  applied  with  ball  point  pens.  Use 
of  pens  of  any  other  type  will  only 
scratch  the  cell  surface,  rendering  it 
unusable  a  second  time.  The  ceils  are 
a  valuable  investment  that  can  be  used 
over  and  over  again  if  they  are  carefully 
handled.  To  opaque  or  fill  in  between 
lines,  ordinary  showcard  colors  may  be 
used  providing  a  good  binding  sub- 
stance has  been  mixed  with  them.  The 
binder  is  necessary  to  eliminate  the  haz- 
ard of  chipping  after  the  paint  dries. 
This  paint  is  applied  by  brush  to  the 
reverse  side  of  the  drawing  traced  on 
the  cell,  and  it  should  be  applied  solidly, 
thereby  assuring  a  consistency  of  tone 
in  the  succession  of  cells  arranged  and 
photographed. 

Figure  I  shows  how  the  professional 
goes  about  shooting  cells  for  an  animat- 
ed cartoon.  This  picture,  made  in  the 
Walter  Lantz  Studios  in  Hollywood,  of- 
fers a  closeup  of  the  specially  designed 
shooting  stage  and  camera  support.  Be- 
fore the  photographer  is  the  easel  or  ani- 
mation stage  on  which  the  cells  are 
placed  to  be  photographed.  The  camera 
is  overhead,  out  of  the  picture.  Register 
pins  are  indicated  at  A,  and  it  will  be 
noted  there  are  several  at  top  and  bottom 
of  the  stage  which  are  required  to  hold 
lengthy  background  cells  in  place. 
Holes,  punched  in  cells  to  fit  register 
pins,  are  shown  at  B.  One  of  the  cells, 
D  is  about  to  be  placed  over  the  back- 
ground drawing  E  on  the  stage.  In  or- 
der to  keep  track  of  the  action  and  to 
avoid  shooting  any  one  cell  twice,  the 
photographer  places  a  thumb  tack  op- 
posite description  of  the  cell  on  the 
shooting  script  before  he  shoots  it.  Any 
or  all  of  these  details  may  be  incorpo- 
rated in  amateur  animation  procedure. 

The  need  for  animation  in  defense 
films  will  doubtless  encourage  further 
exploration  by  the  amateur.  Vast  possi- 
bilities for  expanding  the  home  movie 
hobby  lie  in  this  field,  as  yet  only  barely 
scratched.  In  addition  to  animating  pen 
and  ink  drawings,  figures,  puppets  and 
title  letters  may  also  be  filmed  by  this 
method  to  form  interesting  sequences 
for  home  movie  films. 


•    Make  Editing  a  Pleasure  # 

EDIT  THE  CRAIG  WAY! 


Craig  Projecto-Editors 

Action-edit  your  movies  in  the  professional, 
Hollywood  manner  with  a  CRAIG  Projecto- 
Editor.  This  versatile  outfit  permits  careful 
inspection,  slow-motion  if  desired,  of  actual 
smoothly-animated  motion  on  its  brilliant 
miniature  screen.  Use  it  to  transform  ran- 
dom "shots"  into  smooth-running  sequences 
that  everyone  will  enjoy  seeing. 

8mm.  model,  as  illustrated  above,  complete  with 

Junior  Splicer.  Rewinds  and  film  cement  $37.50 

8mm.  Projecto-Editor  alone  $29.50 

16mm.  model  with  Senior  Splicer  and  Rewinds  . $59. 50 


Craig  8  &  16mni.  Senior  Splicer 

Makes  perfect,  straight,  professional-like  dry 
splices  .  .  .  quickly,  accurately,  and  without 
wetting  film.  Only  four  simple  operations  re- 
quired. For  Sound  or  Silent,  $10.95. 

— AT  ALL  DEALERS — 


Write  for  Illustrated  Folder 


CRAIG  MOVIE  SUPPLY  CO. 

_  1053  SOUTH    OLIVE  STREET  _ 

•  LOS  ANGELES.  CALIFORNIA  • 


At  Your  Favorite  Camera  Store 

"VICTORY 
No  Metal  REEL  FILES 

3  Volume  De  Luxe  Library  Series, 
holds  18  200-tt.,  8-mm  reels.  Black 
or  brown  carrying  case  with  swivel 
hinge  front  cover.  Dustproof.  Re- 
movable index.  Complete  with  18  plas 
tic  reels  and  case,$  16.75;  without  reels, 
$10.  Individual  Files  hold  6  200 -ft., 
8-mm  reels.  Complete  with  6  plastic 
reels,  $4.75;  without  reels,  $2.50. 

Write  for  descriptive  circular 
WESTERN  MOVIE  SUPPLY  CO. 
254  SUTTER  STREET,  SAN  FRANCISCO 


8 


ENLARGED 

TO 


«  ^     REDUCED  Q 

lb   TO  O 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
II97-A  MERCHANDISE  MART 
CHICAGO 


PAGE  208 


HOME  MOVIES  FOR  MAY 


^  Me55a^e  to 
the  public  and. 


Witktke  REEL  FELLOWS 


FRIENDLY  FRATERNITY     ^WCjj    OF  MOVIE  AMATEURS 


REEL  FELLOV/S 

This  department  chronicles  the 
doings  of  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellows  informed  of  your  activi- 
ties through  this  column?  Write  the 
editors,  giving  details  of  your  filming 
activities,  future  filming  plans,  or 
interesting  experiences  encountered 
through  your  affiliation  with  this 
fast  growing  organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideration 
will  be  given  to  their  publication 
when  space  permits. 


★ 
* 
* 
* 


COERZ 


PHOTO  LENSES 
AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 

We  have  no  connection 
with  any  other  firm 


Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-5 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

★  317  East  34th  Street  New  York  * 


CUT  HOME  MOVIE  COSTS 


Shoot-  for  Others 

A  project  of  interest  to  all  Reel  Fel- 
lows has  come  out  of  the  mill  of  count- 
less conferences  and  merges  in  the  form 
of  a  booklet,  "How  To  Make  Movies  for 
Money"  now  available  to  all  members. 

The  basis  of  the  project  is  the  oppor- 
tunity for  Reel  Fellows  to  make  movies 
for  others,  charging  enough  for  serv- 
ices to  cover  expenses  and  use  of  equip- 
ment. Thus,  the  member's  filming  activ- 
ity expands,  he  gains  more  experience, 
and  extends  the  enjoyment  and  use  of 
his  equipment. 

Filming  opportunities  awaiting  the 
Reel  Fellow  are  dealt  with  more  com- 
prehensively in  the  booklet.  He  is  shown 
how  to  exploit  his  activities  through  ra- 
dio interviews,  classified  ads,  newspaper 
publicity,  etc. 

Two  complete  filming  continuities 
are  presented — one  for  filming  a  child, 
and  another  for  a  child's  birthday — as 
material  for  the  Reel  Fellow  to  work 
with  in  soliciting  filming  assignments 
among  neighbors  and  friends.  Then  two 
additional  continuities  treat  the  sub- 
jects of  Graduation  and  Weddings, 
events  which  always  present  opportuni- 
ties for  filming  assignments  from  those 
not  yet  possessing  cine  cameras. 

The  matter  of  servicing  parties, 
churches,  schools,  and  club  groups  with 
exhibition  of  films,  is  dealt  with  in  the 
closing  chapters  and  a  schedule  of  rates 
to  be  charged  for  use  of  equipment  is 
given  for  those  interested  in  expanding 
their  activities  to  this  phase  of  the  pro- 
ject. 

Copies  of  "How  To  Make  Movies  for 
Money"  are  now  ready  for  distribution 
to  all  members  of  the  Reel  Fellows  at 
IOC  each,  postage  prepaid. 

Sound 

Reel  Fellow  J.  Cantoni  is  interested 
in  corresponding  with  brother  Reel  Fel- 
lows who  have  experimented  with  sound 
movies  and  amateur  sound  equipment. 
He  is  interested  in  acquiring  recording 
apparatus  and  would  like  to  visit  with 
those  in  his  vicinity  who  can  aid  him 
in  assembling  the  necessary  equipment. 
Cantoni  resides  at  294  Court  St.,  North 
Plymouth,  Mass. 

Contest- 
First  to  inaugurate  an  exclusive  Reel 
Fellows  movie  contest  is  the  Motor  City 
Chapter  of  Detroit,  Mich.  Prizes  will 
be  awarded  for  both  8mm.  and  i6mm. 


entries  and  the  contest  is  divided  into 
three  divisions.  Unlike  most  c'ne  con- 
tests, awards  will  not  hz  based  upon  a 
complete  film  but  rather  upon  the  best 
general  scenic  shot,  best  action  shot,  and 
best  device  shot  within  films  submitted. 
Another  feature  is  the  manner  of  iden- 
tifying entries.  All  films  will  be  given  a 
number  and  judges  will  make  selections 
according  to  number,  leaving  the  iden- 
tity of  the  filmer  anonymous  until  af- 
ter awards  are  declared. 

Defense  Angle 

Reel  Fellow  Jack  Bond  of  Indiana- 
polis, Indiana,  has  filmed  a  number  of 
leaders  incorporating  the  text:  "Remem- 
ber Pearl  Harbor!  Buy  Defense  Bonds!" 
which  he  splices  immediately  after  the 
final  scene  of  each  of  his  films.  Bond 
screens  home  movies  regularly  to  large 
audiences  of  friends  and  neighbors  and 
takes  this  means  of  boosting  the  sale  of 
government  Defense  Bonds.  It's  a  pa- 
triotic gesture  that  well  may  be  prac- 
ticed by  all  movie  amateurs. 

Reel  Fellows  Leader 

Also  ready  is  the  attractive  animated 
Reel  Fellows  leader  which  every  mem- 
ber will  want  for  each  of  his  films.  Over 
a  moving  background  the  words  "A 
Member  Of"  appear.  Then  just  below, 
the  words  "Reel  Fellows"  move  across 
the  background  into  a  semi-circular  po- 
sition. Below  this  is  the  Reel  Fellows' 
emblem  with  the  words,  "An  American 
organization  of  movie  amateurs"  imme- 
diately beneath. 

Leaders  in  i6mm.  are  available  at  6oc 
each;  8mm.  leaders  are  50c.  Orders 
should  be  sent  direct  to  the  secretary. 


with  BLACK  and  WHITE  fine 
grain   Semi-Orthochromatic  Re- 
versible Film  for  finest  results — 
lowest  cost. 

16mm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $1.98 

Rating  Scheiner  18 

Reversible  Outdoor  Film 

25  ft.  Double  8,  only  98e 

Same  day  processing  included.  Ask  your  dealer  or 
send  money  direct. 

Write  for  prices  for  developing  and  processing  for 
8mm.  and  l6mm.  films  bought  elsewhere. 

VISUAL  INSTRUCTION  SUPPLY  CORP. 

I7S7  Broadway,         Dept.  12         Brooklyn,  N.  Y. 


Do  You  Have  Trouble  Centering  Titles? 

Send  only  10c  for  Home  Movies'  TITLE  CENTERING 
GUIDE,  which  will  quickly  eliminate  your  title 
centering  problems.  Its  application  is  standard  for 
all  of  the  following  cameras:  (8mm.) — Revere,  All 
Models — Magazine  Cine  Kodak — Filmo,  Single  Lens 
Model— Filmo  Turret — Cine  Kodaks  20.  25  and  GO — 
Keystone  Model  8;  (IBmm.) — Cine  Kodak  Model  K 
— Filmo  Models  70.  121  and  141 — Kodak  7.  Address. 
HOME  ifOriES  JIAGAZIXE.  6060  Sunset  Blvd., 
HollTOOod,  Calif. 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  we  invite  you  to  write  us 
about  your  requirements  .  .  . 

There  Is  a  Goerz  Lens  for 


HOME  MOVIES  FOR  MAY 


PAGE  209 


Camera  A  peed  A  ^or  beg^inneri 


•  Continued  from  Page  l88 

seconds.  On  the  other  hand,  a  shot  made 
at  32  f.p.s.  should  be  photographed  for 
five  seconds.  A  scene  filmed  at  64  f.p.s. 
for  a  period  of  2  seconds  would  play 
for  10  seconds  on  the  screen. 

Now  let  us  deal  with  the  various 
speeds  individually.  Sixteen  frames  per 
second  was  established  as  the  normal 
speed  for  silent  motion  pictures  with 
due  regard  to  the  science  of  optics  and 
economy  of  film.  Naturally  the  slower 
film  runs  through  the  camera  the  lower 
the  filming  cost;  but  then  there  is  a 
limit  to  how  slow  film  can  travel 
through  a  camera  and  still  record  good 
pictures.  Science  found  that  "persist- 
ence of  vision"  permits  a  satisfactory 
speed  as  low  as  16  f.p.s.  Only  the  tech- 
nical hmitations  of  sound  made  it  nec- 
essary to  increase  this  speed  to  24  f.p.s. 
for  sound  films. 

The  8  frame  halfspeed  offers  several 
advantages.  It  can  increase  the  range  of 
a  lens  under  adverse  light  conditions. 
When  there  is  not  sufficient  light  to 
give  good  results  with  the  lens  wide 
open,  even  with  super-sensitive  film, 
the  scene  can  be  shot  at  8  f.p.s.  which 
will  increase  exposure  another  full  stop. 
A  camera  shutter  speed  of  i/3oth  sec- 
ond would  be  increased  to  i  '15  th  sec- 
ond. Ordinary  street  scenes  and  pano- 
ramas of  lighted  cities,  like  the  one 
illustrated,  can  be  shot  at  night.  The 
most  successful  Kodachrome  night 
scenes  of  the  New  York  World's  Fair 
and  of  the  Golden  Gate  International 
Exposition  were  obtained  in  this  manner. 

Another  use  of  the  half  speed  is  to  ac- 
celerate action  of  an  object  in  a  scene 
as  for  instance,  a  steamer  slowly  moving 
away  from  a  pier  or  a  moving  object 
in  the  distance  —  provided,  of  course, 
there  is  no  action  in  the  immediate  fore- 
ground which  would  also  be  speeded  up 
and  spoil  the  effect  of  the  scene. 

Comedy  effects  in  home  movies,  sim- 
ilar to  those  seen  in  professional  com- 
edies, may  be  achieved  by  the  amateur 
as  for  example,  in  scenes  showing  an 
irate  wife  chasing  her  spouse;  a  group 
of  youngsters,  having  stolen  a  water- 
melon, being  chased  by  a  neighbor's 
dog;  etc.  Just  to  watch  a  person  on  the 
screen  walking  or  running  double-fast 
is  a  laugh  in  itself. 

There  are  several  things  that  must  be 
considered  in  order  to  insure  best  re- 
sults when  filming  at  half-speed.  The 
camera  must  be  held  absolutely  steady 
otherwise  any  camera  sway  or  jiggle  will 
be  accentuated  on  the  screen.  Use  of 
tripod  or  other  firm  support  is  impera- 
tive. Any  foreground  movement  in  the 


scene  should  be  towards  the  camera 
rather  than  straight  across  from  left  to 
right  or  vice  versa.  Panning  should  not 
be  attempted.  Nor  should  pictures  be 
made  at  this  speed  from  a  moving  auto- 
mobile, train  or  other  vehicle  except  for 
comedy  effect. 

Filming  at  24  f.p.s.  tends  to  slow  up 
action  on  the  screen,  although  but  lit- 
tle, and  tends  to  make  the  action 
smoother  as  well  as  reduce  any  visible 
evidence  of  a  hand  held  camera.  Some 
cinefilmers  deliberately  use  the  24  frame 
speed  when  holding  the  camera  by  hand. 

The  32  frame  speed  might  be  termed 
the  "semi-slow-motion"  speed.  It  is  the 
one  to  use  in  filming  such  subjects  as 
divers  in  action,  rolling  surf,  etc.,  where 
true  slow  motion  is  not  desired  but  rath- 
er a  slowing  of  the  action  to  permit 
easier  viewing  of  it  on  the  screen. 

The  ultra  speeds  of  48  and  64  f.p.s. 
are  the  camera  speeds  for  slow  motion 
photography.  They  are  used  in  filming 
such  subjects  as  football,  diving,  golf- 
ing, etc.,  for  the  purpose  of  study  and 
analysis;  for  slow  motion  comedy  ef- 
fects, and  other  tricks.  The  amateur  can 
use  ultra-speed  to  advantage  to  heighten 
the  effect  of  a  comedy  dream  sequence, 
slowing  down  the  action  of  an  individ- 
ual in  a  nightmarish  manner. 

Then  it  is  possible  to  combine  both 
slow  motion  and  half-speed  filming  in 
one  picture  for  added  comedy  effect.  For 
example,  let  us  take  a  scene  where  a 
picnicker  is  being  pursued  by  a  friendly 
but  terrifying  cow.  If  the  cow  is  filmed 
at  half-speed  to  accentuate  her  action 
and  the  picnicker  shot  in  slow  motion 
to  emphasize  his  impression  of  his  flight 
from  the  onrushing  animal,  the  comedy 
effect  will  be  greatly  increased. 

There  is  a  real  place  in  home  movies 
for  the  effects  to  be  gained  through  use 
of  various  filming  speeds.  As  for  the 
trick  effects,  some  insist  that  trick  shot 
photography  should  be  served  sparing- 
ly. Obviously  if  an  amateur  insists  up- 
on cramming  a  movie  with  bits  of 
cinematic  legerdemain,  his  efforts  are 
apt  to  prove  more  boring  than  amusing. 
But  sparingly  and  judiciously  used,  such 
effects  will  add  a  definite  interest  to 
amateur  movies  and  reflect  the  artistry 
of  the  filmer. 


News  Thrills  of  1942 

VOLUME  I 
ALL  THESE  HISTORIC 
SENSATIONAL  EVENTS 


IN  ONE  HOME  MOVIE 


BRITISH  COMMANDOS  IN  ACTION 
JAPS  BOMB  PEARL  HARBOR 
BATTLE  OF  SINGAPORE 
UNITED  STATES  DECLARES  WAR 
BURNING  OF  S.S.  NORMANDIE 
RUSSIA  STOPS  HITLER 
SHELLING  OF  ARUBA 
U.S.  NAVY  BLASTS  MARSHALL 
ISLANDS 


Volumes  II,  III  and  IV  will  be  re- 
leased in  July  1942,  Septennber 
1942  and  January  1943  respec- 
tively. 

I6MM  Sound-on-Film  $17.50 

I6MM  Silent  Feature    8.75 

I6MM  Silent  Short    2.75 

8MM  Silent  Feature    5.50 

8MM  Silent  Short    1.75 

AT  ALL  LEADING  DEALERS  AND  FILM  RENTAL  LIBRARIES 

Write  for  liter  (ituro  describing 
complete  line  of  Official  Films. 

OFFICIAL  FILMS.  INC. 

425  Fourth  Ave.,  New  York,  N.  Y. 


finn&uncin^  .  .  . 

ESO-C 

A  New  MONOCOLOR  8mm.  Emul- 
sion for  all  double  8mm.  cameras. 
Prices  include  spiolin.?  and  processing  without  additional 
cliarge.  Slit  to  the  single  8mm.  width,  read.v  for  projection. 
For  those  spring  home  movies  in  the  popular  sepia  cur- 
rently used  in  man.v  Holl>^vood  productions. 
ESO-C — Sepia  ortho  film,  with  full  anti*halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supplement 
for  your  Kodachrome  movies.  $1.30  per  spool.   $3.70  per 
three  spools. 

ESO-A — Fine-grain,  contrast  semi-orthochromatic  film 
with  anti-halo  base.  Recommended  for  exteriors  only. 
$1.20  per  spool.  $3.50  per  three  spools. 

ESO-B — Super-orthochromatic  film,  full  anti-halo  protec- 
tion for  use  on  exteriors  and  interiors.  Over  twice  as 
"fast"  as  ESO-A.  $1.25  per  spool,  $3.65  per  3  spools. 

ESO-D — Violet  ortlio  film,  anti-halo  base.  Excellent  for 
splicing  into  your  Kodachrome  movies.  $1.30  per  spool. 
$3.65  per  three  spools. 

ESO-E — DuPont  super-speed  panchromatic  film,  for  dark 
exteriors  and  interior  photography.  Four  times  as  "fast" 
as  ESO-B.  $2.25  per  spool.  $6.50  per  three  spools. 

ESO-F — DuPont  super-panchromatic  film,  for  dull  days 
and  interior  photography.  Over  twice  as  "fast"  as 
ESO-B.  $2.00  per  spool.  $5.70  per  three  spools. 

ESO'G — A  scarlet  seml-orthochromatic  film  witli  full  anti- 
halo  base.  Recommended  for  exteriors  only.  Projects  a 
pleasing  colorful  picture — ideal  as  supplement  for  Koda- 
chrome movies.  $1.25  per  spool.  $3.35  per  three  spools. 

You  may  purchase  all  these  fine  8mm.  emulsions  at  your 

local  dealer's.  If  he  is  unable  to  supply  you,  please  send 

us  his  name  and  address.  You  may  forward  your  first  order 

direct  from  this  ad. 

•These  emulsions  available  for  single-run  8mm.  TJnivex 
cameras  also.  Write  for  prices. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantees  all  these  8mm,  films.  You  MUST  be  satisfied 
that  you  are  getting  your  money's  worth!  ESO-S  PIC- 
TURES authorize  your  dealer  to  replace  any  film  pur- 
chased, or  to  refund  the  full  purchase  price  on  demand  if 
you  are  not  fully  pleased  with  your  results! 

ORDER    AT    TODAY'S    LOW  PRICES! 

ESO-S  PICTURES 

"Quality  Smvt  Service" 
3945  Central  Street  Kansas  City,  Missouri 


PAGE  210 


HOME  MOVIES  FOR  MAY 


The  Screen's  Most 
Magnificent  Love  Story! 


HISTORY 


9? 


MADE  AT  .\IGHT 

Starring 
CHARLES  BOYER  &  JEAN  ARTHUR 

An  absorbing,  heart-tingling  romance 
— spiked  with  gay,  sophisticated  com- 
edy— crashing  into  a  breathless  thrill- 
packed  climax  that  will  live  forever  as 
the  screen's  most  memorable  moment. 

Another  four-star  feature  in  the  pa- 
rade of  hits,  featuring  Hollywood's 
greatest  stars,  COMMONWEALTH 
is  making  available  in  i6mm.  Sound 
— from  the  new  Rental  Library. 

For  complete  list  —  send 
today  for  your  FREE 
COPY  of  the  new  Catalog. 

Address  Dept.  23 


COMMONWEJILTH  PICTURES 

CORFOIATION 

729  Seventh  Ave.,  New  York,  N.  Y. 


CORONA 


BETTER 
BULK 
FILMS 

SAME  PRICE  FOR  I6MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES     DO     NOT     INCLUDE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 

CORONA-PAN  24-16       $3.15  $11.60 

ORTHOCHROMATIC    ....  12-  4         1.73  6.00 

SEMI-ORTHO   12-  4         1.30  4.25 

MACHINE  REVERSAL  P ROCESSI N G— Double  8 
or  16mm— 100  ft.,  85c;  50  ft.,  65c;  25  ft.,  50c. 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

FREE  BOOKLET  on  home  processing  instructions, 
plans  and  formulae  with  orders. 
Single  copies.  15c 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  A\E.      BROOKLYN,  X.  Y. 


Make  Good  Films  Better 
With 

PARK  CINE  TITLES 

Crisp  Artistic!  Economical! 
Give  meaning  to  your  films. 

Send  for  Latest  Catalog 

Park  Cine  Laboratory 

120  WesMlst  St.       New  York  City 


WINDBACKS 


FRAME- 
COUNTING 
Guaranteed    accurate.    Expertly  engineered 
and  installed.  Money-back  guarantee. 
Keystone  .  .  .  SIT. 43      •      Filmo  .  .  .  S23.50 
Eastman  .  .  .  S23..50 
Precision  Built  Accessories  for  Every  rfeed 
Write  Us  Your  Requirements 
CUSTOM  BCILT  CAMERA  ACCESSORIES  CO. 
5*12  Cedar  Springs  •  Dallas,  Texas 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BERNDT-MArRER  RECORDER 

CEO.  W.  COLBURN  LABORATORY 

1197-A  Merchandise  -Mart  CHICAGO 


Jl^eth  try.  a  trick  ////n  . 


•  Continued  from  Page  i^o 

shield  to  include  the  far  door  and  part 
of  the  hood.  Papa  Two  is  seen  getting 
out.  He  pauses  by  the  hood,  listens,  then 
beckons  to  the  camera. 

(3)  Shot  from  the  automobile  show- 
ing Papa  One  walking  towards  the 
house.  He  stops,  looks  around  over  his 
shoulder,  turns  and  walks  back  towards 
the  camera. 

(4)  By  this  time,  Papa  Two  has  the 
hood  open  and  with  a  true  split  screen 
shot,  taking  a  cut  line  up  the  edge  of 
the  radiator  and  along  the  top  of  the 
raised  hood.  Papa  One  appears,  leaning 
over  the  radiator  to  watch  Papa  Two 
tinkering  with  the  engine. 

(5)  Cut  to  the  garage  door  which  is 
just  ajar.  The  smallest  member  of  the 
family,  John  David,  peeping  out,  sees 
the  automobile  and  running  forward, 
disappears  out  of  the  picture.  Immedi- 
ately, his  "twin"  appears  from  behind 
the  door  and  repeats  the  performance, 
running  out  of  view  on  the  opposite 
side  of  the  picture. 

(6)  A  trick  shot  follows,  showing 
the  small  "twins"  running  up,  one  each 
side  of  the  picture,  to  the  "twin"  Pap- 
as, using  a  simple,  vertical  cut  line. 

Mary  Anne  is  next  discovered  on  the 
swing  watched  by  her  "twin."  (Verti- 
cal cut  line  on  one  of  the  posts.)  Two 
close-ups  follow;  one  of  Mary  Anne, 
taken  from  a  low  view  point,  passing  to 
and  fro  across  the  screen;  the  other  of 
her  "twin",  watching,  her  head  and 
eyes  glancing  from  side  to  side,  as  she 
follows  the  movement  of  the  swing. 

Mummy  is  found  at  the  window, 
winding  a  ball  of  wool  and  chatting 
with  her  "twin"  who  holds  the  skein. 
And  so  on.  It  will  be  seen  that  ingenuity 
and  suggestion  will  do  almost  as  much 
as  the  trick  to  convey  the  illusion.  Va- 
riety of  angle  and  method  will  keep  the 
audience  guessing;  and  that,  after  all,  is 
vour  chief  reason  for  making  a  trick 
film. 

Another  variation,  using  the  split 
screen,  is  seen  in  the  "King  Kong"  and 
"Tom  Thumb"  type  of  film.  Here  it  Is 
a  case  of  combining  the  photographs  of 
two  sets  of  actors,  taken  at  different  dis- 
tances from  the  camera,  thus  achieving 
the  difference  in  size  between  the  ordi- 
nary mortal  and  the  giant  or  midget,  as 
the  case  may  be.  One  difficulty  is  added: 
the  background.  Either  a  nondescript 
background  which  will  not  give  the 
show  awav  must  be  chosen,  or  it  must  be 
deliberately  faked  in  such  a  way  as  make 
it  aooear  natural. 

If  an  open  foreground  can  be  secured, 
with  distant  trees  and  shrubs,  then  with 


a  low  viewpoint  for  the  camera  the 
background  will  be  mainly  sky.  If  the 
picture  cuts  off  at  about  "knee  level,"  a 
near  and  distant  figure  may  be  photo- 
graphed simultaneously  to  give  the  re- 
quired effect. 

A  better  illusion  is  shown  in  Fig.  i, 
the  small  figure  climbing  out  of  the  tea- 
pot, having  been  placed  in  the  required 
position  by  observation  through  the 
"sight"  in  the  Frame,  which  is  set  up 
for  the  purpose.  If  it  can  be  arranged 
that  he  jumps  down  onto  a  box  placed 
so  that  the  top  of  the  box  and  the  top  of 
the  table  are  in  line  when  viewed  from 
the  camera  position,  then  he  will  ap- 
pear to  climb  out  of  the  teapot  and 
jump  down  onto  the  table.  A  fairly 
small  stop  will  be  required  to  ensure  that 
both  the  near  objects  and  distant  figure 
are  equally  in  sharp  focus. 

Such  shots  will  be  sufficiently  con- 
vincing if  mixed  with  true  trick  shots, 
using  the  split  screen  as  shown  in  Fig. 
2.  In  this  case,  the  open  window  sec- 
tion was  masked  out  and  after  suitable 
rehearsal,  a  normal  exposure  made  on 
the  rest  of  the  scene.  After  rewinding, 
the  camera  and  Frame  were  set  up  with 
a  black  backdrop  for  a  background. 
The  reverse  mask  was  put  in  place  and 
the  Frame  arranged  so  that  the  bottom 
edge  of  the  mask  opening  coincided  with 
the  top  of  a  box  placed  in  front  of  the 
black  cloth.  The  little  girl  is  made  to 
climb  up  onto  this  box  from  behind,  as 
the  film  is  run  through.  In  the  finished 
picture,  of  course,  she  appears  to  climb 
up  onto  the  window  sill  and  converse 
with  the  normal  sided  woman  outside. 

As  there  is  a  change  in  camera  posi- 
tion and  of  focus,  it  will  be  better  to 
use  a  mask  on  Stage  B,  cutting  just  in- 
side the  line  of  the  open  window  frame. 
Masks  should  only  be  used  in  Stage  A 
when  considerable  diffusion  is  desirable, 
either  for  "dream"  effects  or  when  there 
is  no  change  of  camera  position  between 
exposures.  The  high  degree  of  diffusion 
along  the  edges  of  the  mask  cause  one 
exposure  to  fade  into  the  other  and  con- 
ceal all  evidence  of  a  "joint." 

By  the  use  of  foreground  models  and 
a  few  additional  shots,  using  simple 
"properties"  such  as  a  giant  matchbox 
built  up  from  an  old  packing  case  and 
"matches"  made  from  broom  handles 
that  can  be  manipulated  by  "Tom 
Thumb"  in  a  medium  close  shot,  the  illu- 
sion can  be  extended  and  the  essential 
variety  introduced.  Here  again,  quick 
cutting  and  a  rapid  changeover  wnll  baf- 
fle the  audience.  They  will  just  begin 
to  work  out  how  you  have  made  your 


HOME  MOVIES  FOR  MAY 


PACE  211 


PA  Drill  lie  8MM-J6m 
DMII^Uinj  MOVIE  MAKERS 


8KTITLER 


$12.50  Value  \\ 
BEADED  n 
SCF 


$4.95 

V 

30x40  3-WAY  tripod  screen, 
folds  into  compact  unit.  High 
quality  crystal  beaded  sur- 
face with  black  border. 
Black  crackle  finish  metal 
dust  proof  case.  Guaranteed 
J12.50  value. 

SHJ  -  16    Bulk  Film 

Great  money  saver.  Try  it 
100' dble.  Smm-scored  $1.95 

100'  single  8mm    $1.15 

400'  16mm.  notched  every 
100'  $4.95. 

Write  for  FREE  Literature. 


$2.50 

value  for 

$1.99 

(Postpaid) 
Put  zip  into  your  films  with 
titles.  Write,  print  or  draw 
your  titles  on  a  card  and 
"shoot."  Easy — no  fuss  or 
bother.  When  ordering  state 
make  of  camera  (8mm.  only) 
Revere.  Revere  Turret,  Key- 
stone. B  &  H.  Eastman  20- 
■irj.  60,  Univex.  Worth  $2.50 
— this  month  only — $1.99. 


SUPERIOR  BULK  FILM  CO. 

188  W.  Randolph  St.,  Dept.|^9  Chicago,  III. 


(?ijpJU^  FOR  SLIDES 


A  REAL  GIFT  FOR  YOURSELF  or  a  FRIEND 
%  Handiest,  most  modern  filing 
container  for  35  mm  2"x2"  slides. 
Keeps  them  clean — easy  to  file  and 
find.  Contents  Index  included.  Pin 
seal  simulated  1  eather  binding  in 
blue,  black,  maroon  or  green.  Size 
8V2  X  7". 

No.  100  has  51  individual  slide  com- 
partments. No.  lOOB  has  15  com- 
partments— holds  up  to  300  slides. 


125 


each  at  s  tores  or 
sent  direct  prepaid 
on  10-day  money- 
back  trial. 


Write  for  folder  on  other  files 
to  match,  Loose  Leaf  Print 
Albums,  Negative  Files,  Movie 
Reel  Files  for  8  or  16  mm. 


ERG  FILE  &  INDEX  CO.  l,V„LZrXo1i 


MACK 

Wide  Angle 
LENS 

for  8mm.  Cameras! 

DOUBLES  Width  of 
Field  Covered! 
Screws    in    FRONT   of    Regular  Lens 
Precise  Focusing  From  2  Ft.  to  Infinity! 

Ideally  suited  to  color  or  black-and-white. 
Models  are  available  for  most  all  regular 
8mm.  movie  camera  lenses.  LIST     (Tah  /\f^ 
PRICE,  including  excise  tax  922.00 

MACK    OPTICAL  CO. 

ENCINITAS  CALIFORNIA 


UNUSUAL  MOVIES 

100  ft.  Srara.,  "Let's   See   Tosemite"  $4.50 

200  ft.  8mm..  "Let's   See   Tosemite"  $9.00 

200  ft.  8mm.,   "Hummingbird  Home  Life"  $9.00 

A  Set  of  3  Kodaslides  of  beautiful  mountain  rimmed 
Maligne  Lake,  Jasper  National  Park.  Canada  $1.50. 

GUY  HASELTON 

7936  Santa  Monica  Blvd.  Hollywood,  Calif. 

DTvTLoTW^^m? 

Send  for  one  of  these  low  cost  sets  and  develop  your 
own  movies!  Consists  of  flat  reel,  tray,  safellte,  and 
set  of  prepared  developing  powders.  Simple  step-hy- 
stt^n  inst-iifti'^ns  insure  R'^od  results,  Ord^r  yours  today. 
SIMPLIFIED  DEVELOPING  OUTFITS  including  our 
Prepared  Chemicals.  For  30  ft.  Single  8,  $4.20;  33  ft. 
Dbl.  8  &  16,  $5.95.  Instructions  furnished  Free. 
Powders  only:  V2  Gal.  Set.  $1.30;  One  Gal  Set,  $1.95, 
Write  for  Big  Bargain  Circulars,  our  processing  prices. 

Fromader  Genera   Co.,   Davenport,  la. 


first  trick  shot  when  you  puzzle  them 
with  another. 

Another  amusing  variation  on  the 
simple,  vertical  mask  is  illustrated  in 
Figs.  3,  4  and  5.  It  is  probably  best  in- 
troduced in  the  traditional  comic  chase, 
where  the  fat  man  disappears  completely 
behind  a  very  thin  lampost.  In  the  ex- 
ample given,  the  children  crawl  behind 
the  fence  post  and  disappear.  Next,  one 
peeps  out  from  one  side,  then  the  other 
two  from  the  other  side  of  the  post,  the 
post  being  far  too  thin,  of  course,  to 
hide  even  one  of  them  completely. 

The  effect  is  achieved  by  double  ex- 
posure with  a  simple  mask  cutting  on  a 
vertical  line  down  the  center  of  the 
fence  post.  The  right  hand  side  is  first 
masked  off  and  the  children  crawl  be- 
hind the  post.  After  winding  the  film 
back,  the  second  exposure  is  made  on 
the  open  scene,  the  left  hand  side,  al- 
ready exposed,  being  masked  off.  The 
next  two  phases  are  made  in  a  similar 
way  by  exposing  first  one  half,  then  the 
other,  the  action  being  carefully  timed 
to  suit. 

This  principle  has  limitless  possibili- 
ties. A  whole  football  team  can  be 
brought  out  from  behind  the  shelter  of 
a  goal  post;  a  small  automobile  may  be 
made  to  disgorge  a  dozen  people  (in  at 
one  door  and  out  at  the  other) .  Suitable 
masking  permits  camera  to  register  only 
those  coming  out.  The  other  side  of  the 
picture  is  exposed  on  the  empty  scene, 
though  moving  persons  may  appear  in 
the  distance  and  so  add  realism.  When 
filming,  the  springs  of  the  automobile 
will  have  to  be  blocked  up;  otherwise, 
as  the  people  pass  through,  the  auto  will 
bounce  up  and  down  and  this  may  not 
match  with  the  second  exposure  at  all. 

Once  the  principle  of  the  split  screen 
is  understood,  there  is  really  no  limit  to 
its  exploitation  by  the  ingenious  cam- 
eraman. It  can  always  be  turned  to  good 
account,  either  as  part  of  a  deliberate 
"trick"  film  or  as  an  unexpected  varia- 
tion in  an  otherwise  straight  forward 
production.  It  has  another  use,  too,  in 
producing  "montage"  backgrounds  for 
special  title  effects. 


Short  of  Filming  Ideas? 

Then  you'll  want  the  new  booklet, 
"50  Continuity  Ideas  for  Filming 
Children,"  now  available  at  25  cents 
a  copy.  Chuck  full  of  new  story  ma- 
terial, running  gags  and  ideas  for 
short  scenes,  together  with  title 
drawings  for  use  in  typewriter  titlers. 
Ver  Halen  Publications,  6060  Sunset 
Blvd.,  hlollywood,  Calif. 


i 


».  n  \  ^ 


■  INDOORS 

f5 


TWO 
VICTOR 

"250-S" 
Clamp 
Units 
were 
used 
to  light 
this 
group 


Everything's  under  control  when  you 
make  movies  or  stills  indoors  with 
your  own  VICTOR  Lights.  With  me- 
ter or  calculator  you  determine  tJie 
stop  to  use,  and  you  know  that  a 
passing  cloud  won't  change  things 
when  you  "shoot."  Indoor  scenes 
have  the  charm  of  home  in  thenx 
which  makes  them  more  valuable  as 
the  years  pass.  The  VICTOR  line  of 
lighting  equipment  at  your  dealers' 
is  complete.  Get  what  you  need  for 
indoor  filming  NOW.  Prices  are 
reasonable. 

Write  for  FREE  Instrnctive  folder  describing 
the  complete  VICTOR  Line. 

I James  H.  Smith  &  Sons  Corp.  I 
420  Lake  Street  Griffith,  Indiana  I 


PACE  212 


HOME  MOVIES  FOR  MAY 


HAND  LETTER  YOUR  TITLES 


IN  6  COLORS 

the  "Trace-A-Title"  way 

Ainonc  Can  Do  It 


A-to-Z  COLOR 
$6.50 


TITLE 
OUTFIT 


EASY  FOR  BEGINNER  ...  OR  PROFESSIONAL 

Contents:  A-to-Z  Title  Maker:  30  Figurettes  in  Color; 
10  sheets  of  8"10'  Acetate:  6  jars  of  Colors  (Red,  Tel- 
low.  Blue.  Oreen,  White,  Black)  :  10  Backgrounds:  Title 
Frame  ('"sO"  area);  Brush;  Easy  instructions,  etc. 
o  Deluxe  outfit  for  black  and  white  titles,  $3.00  • 
Write  today  for  FREE  Sample  Title  Kit 
Both  Outfits  At  All  Dealers  or  Send  Direct 

A-to-Z  MOVIE  ACCESSORIES 

175  Fifth  Ave..  Dept.  H  37         New  York.  N.  Y. 


The  Price  is  Soon  Forgotten 
But  the  Quah'ty  NEVER 

QUALITY  OUTDOOR  ^ 
WESTON  -12 

Per  1  00  Feet  1  6mm  

No.  1  Pan— Weston- 16- 12  $3.75 

No.  2  Pan— Weston-32-20   4.00 

No.  3  Pan— Wcston-80-40   4.50 

PROCESSING  INCLUDED 

OWEN  LABORATORY 

2819  E.  ANAHEIM  ST.       LONG  BEACH.  CALIF. 


16mm. 


100  feet, 
Weston  8.. 


OUTDOOR 

$2.50 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  16mm)  you  simply  cannot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo  Bar- 
gain Book  now  being  distributed  throughout  the  U.  S. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading'  manufacturers,  describes  thera.  The  prices 
save  you  money  In  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
titlers,  editing  outfits,  tripods,  books  on  editing, 
titling,  etc  This  Bargain  Book  is  invaluable  to  you  as 
an  equipment  REFERENCE  book.  Don't  wait  a  day 
longer  to  send   for  your  Free  copy.   Write  ub  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  E-9  Chicago,  Illinois 


Guaranteed  machine  proceasing.  Finegrain,  wide 
latitude.  Excellent  for  outdoor  filming  and  titling. 

HOLLYWOODLAND  STUDIOS 

9320  California  Ave.  South  Gate.  Calif. 


REVIEWS... 


of  cAmateur  fUm^ 


B  1 


NFORTUNATELY  limited 
space  does  not  permit  setting  down 
here  the  review  of  every  amateur  film 
submitted  to  Home  Movies'  editors  for 
criticism.  Out  of  the  scores  of  amateur 
films  that  come  to  us  each  month,  three 
or  four  are  selected  for  a  detailed  review 
because  of  filming  ideas  they  contain 
for  others.  Not  infrequently  they  afford 
an  excuse — but  a  valued  one,  none-the- 
less — to  drive  home  a  point  on  the  good 
or  bad  practices  of  editing,  titling,  or 
photogrpahy. 

Among  the  pictures  reviewed  here 
this  month,  one  stands  out  for  its  ex- 
cellence in  photographic  composition. 
Another  is  a  fine  example  of  near-pro- 
fessional editing,  while  the  other  rep- 
resents a  commendable  amateur  effort 
in  the  animated  cartooning  field. 

onterey  Pennisula,"  running  200 
feet  in  8mm.  Kodachrome,  was  pro- 
duced by  K.  Lockwood  of  San  Leandro, 
California,  as  a  docum'^ntary-travelogue 
on  California's  first  capital,  and  pre- 
sents some  of  the  most  spectacular 
8mm.  color  photography  ever  screened 
by  the  editors.  Some  o*^  the  scenes  in 
and  about  Fisherman's  Wharf,  looking 
out  over  the  tied-up  fishing  boats,  had 
qualities  of  rich  paintings.  Wherever 
possible,  Lockwood  used  ingenuity  in 
securing  various  compositions  and  cam- 
era angles  which  provided  him  with  a 
variety  of  eye-appealing  material  with 
which  to  assemble  th's  commendable 
movie  at  the  editing  board. 

Lockwood  was  careful  also  to  have 
people  and  activity  in  all  h;s  scenes, 
thereby  adding  greatly  to  the  success  of 
his  film  which  could  easily  have  been  a 
collection  of  static  scenic  shots.  This 
flair  for  good  composition  was  enhanced 
by  Lockwood's  good  foresight  in  film- 
ing interesting  subjects,  not  in  one 
single  shot,  but  in  brief  sequences  of 
long,  medium,  and  closeup  shots.  For 
instance,  a  long  shot  shows  a  group  of 
men  hoisting  a  fishing  net  preparatory 
to  mending  it.  Then  camera  moves  in 
for  a  closer  shot  of  one  of  the  men  and 
finally  picks  him  up  in  a  tight  closeup 
to  show,  in  intimate  detail,  the  hand- 
work he  is  doing. 

Only  shortcoming  of  this  picture  is 
lack  of  descriptive  titles  throughout 
which  would  make  it  more  interesting 
to  audiences  unfamiliar  with  the  locale. 
Nevertheless,    good    photography,  and 


editing  places  this  film  in  the  three-star 
class. 

A  masterful  job  of  editing  is  'Tly- 
ing  Feathers,"  a  200  foot  8mm.  black 
and  white  film  on  the  subject  of  arch- 
ery, produced  by  Ray  Patin  of  Bur- 
bank,  California.  The  picture  opens 
with  a  lengthy  sequence  depicting  the 
manufacture  of  archery  bows  and  ar- 
rows. Proper  camera  handling  makes  in- 
teresting the  method  by  which  the  bows 
and  arrows  are  fashioned  from  wood 
and  tested. 

Finally  the  completed  product  is  put 
to  test  in  the  field  and  we  see  the  archer 
load  his  equipment  into  his  car  and 
proceed  to  the  archery  range.  Here  the 
remarkable  accuracy  of  the  archer  is 
demonstrated.  He  hits  the  bullseye  of 
the  conventional  target  at  ranges  up  to 
100  yards,  then  rolling  paper  plates  and 
other  objects  tossed  into  the  air — all 
without  employing  any  camera  tricks. 

Final  exploit  and  the  highlight  of 
the  picture  is  that  of  the  archer  shoot- 
ing an  apple  from  the  head  of  a  girl, 
William  Tell  fashion,  and  this,  too,  was 
an  actual  incident,  filmed  from  an  angle 
that  convinces  the  observer  no  tricks 
were  employed.  Filmer  Patin  must  have 
had  plenty  of  confidence  in  the  archer, 
for  many  of  the  most  spectacular  shots 
were  made  head  on  in  front  of  the  tar- 
get, creating  a  realistic  effect. 

In  the  editing,  Patin  cut  all  of  his 
scenes  down  to  the  most  essential 
frames.  As  a  result,  his  picture  moves 
along  swiftly  in  keeping  with  the  sub- 
ject. Of  course  it  must  be  said  that 
Patin,  too,  had  the  foresight  to  film 
the  right  kind  of  scenes — medium  and 
closeup  shots,  as  well  as  long  shots — 
which  provided  material  to  form  a  more 
interesting  and  complete  motion  picture. 

Titling  of  this  picture  was  excellent- 
ly done.  Main  and  credit  titles  had 
shadows  of  arrows  for  decoration,  very 
effective.  Subtitles  were  adequate,  well 
composed  and  were  evidently  handlet- 
tered  by  the  filmer. 

"Flying  Feathers"  also  is  a  three-star 
picture  and  received  an  animated  leader 
indicative  of  this  honor. 

^^Ferdinand",  a  50  foot  8mm.  com- 
bination black  and  white  and  Koda- 
chrome motion  picture  is  commendable 


ORDER  FOR  SUBSCRIPTION 

[ome  Movies  Magazine 

12  MONTHS  FOR  $2.00  IN  U.  S. 
In  Canada,  $2.00;  Foreign — $3.00 

;PECIAL  OFFER:  3  Years  for  $5.00  in  the  U.  S.  A. 
ME  MOVIES 

)  Sunset  Blvd.  ^ 
iywood,  Calif. 

end  to   

address   

^ify   -   State   

□  New  □  Renewal  □  Gift 


City    State   

□  New         n  Renewal       □  Sift 

❖ 

Enclosed  find  $   Date    19.. 

Sent  in  by   

Address   


City    State   

I  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  MAY 


PAGE  213 


Or  if  you  are  no 
longer  using  yours 
I  will  pay  CASH  for 
your  photographic 
and  optical  equip- 
ment. 

We  carry  a  complete 
line  of  SILENT  AND 
SOUND  Movie  cameras  and  equip- 
ment and  all  standard  brands  of 
STILL  Cameras  and  equipment. 

Send  for  the  BASS  CINE  BARGAIN- 
GRAM  ami  the  SUPPLEMENTAL 
PRICE  LIST.  Both  are  free. 

Write  Dept.  HM 


NOW!!!  Spend  less  to  own  and  operate  your 
mo  lie  camera — Load  with 

ONYX  MOVIE  FILM 

ONYX      ONYX  ONYX 
8  24  Hi-Speed 

100  ft.  16  $2.25    $4.25  $4.75 

25  ft.  8  8   1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

RATINGS  — 8-24-50  for  Daylight 
Reversal  Processing  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processing. 
KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO,  ILL. 


Turret  and  backwind  installations  in  8  and  I6mni. 
Lenses.  Binoculars  repaired.  Focusing  mounts. 

MACVAN  MFC.  CO. 

3829  El  Cajon  Blvd.  San  Diego,  Calif. 


Us 


Why  Pay  More? 


Thrifty      thrifty    OUTIIOTYI-E.    fi.r  outdoor 
shooting,  non-lialalion.  fine  AC 

1  6inin.  lo"-"-  roll   9^'^^ 

Compare  to  any  film  up  to  twice  the  cost. 

Film  California    Buyers    li;clude    Sales  Tas 

THRIFTY   FN  Drawer  98.  watts  station 

■  ni\iril    ril.lVIJ       Lo$  Angeles,  Calif. 


MOVIES 


THAT   LIVE  FOREVER!! 

The    largest    alul    must    iiut.itaiulins    selection  of 

8MM.  I6MM  SOUND  and  SILENT  FILMS 
Features    -    Comedies    -    Cartoons    •  Musicals 
War  Zones    -    Sports    •    Horoscopes    -  Serials 
 Send   For  Our  Latest  Complete  Catalog  

NU-ART  FILMS,  Inc. 

145  West  45th  Street  New  York  City 


Get    Better   SPLICES   with    the    new    SEEM  ANN! 

New  improved  design 
— made  of  heavy  gauge 
plated  metal,  mounted 
on  hardwood  base.  An- 
chored cement  bottle. 
Accurate  .  .  EfficientI 
For  8  or  16mm. 
At   All  Dealers! 
WHOLESALE    PHOTO    SUPPLY  CO. 
77266  Beverly  Blvd.     Dept.  HM-4     Hollywood,  Calif. 


more  for  the  sincere  effort  of  Denny 
Plumlee,  its  producer,  to  follow  profes- 
sional techniques  than  for  the  actual 
results  obtained.  "Ferdinand"  is  Plum- 
lee's  first  attempt  at  animated  cartoon- 
ing which  he  obviously  found  to  be  a 
task  far  greater  than  anticipated.  This 
assumption  is  based  on  the  fact  that 
while  animation  in  the  opening  cartoon 
sequences  was  accomplished  with  draw- 
ings, later  the  animating  of  cut-outs  of 
the  objects  was  resorted  to. 

But  the  picture  has  a  pleasing  open- 
ing and  proceeds  logically,  if  some- 
what loosely,  to  the  end.  The  story 
opens  with  a  black  and  white  sequence 
showing  a  boy  and  girl  discussing  Walt 
Disney's  animated  cartoons.  The  boy 
believes  he  can  produce  an  acceptable 
animated  cartoon  of  Ferdinand  The 
Bull  and  proceeds  to  show  the  girl  he 
can  do  so  in  spite  of  her  efforts  to  dis- 
courage him.  There's  a  closeup  showing 
the  boy  at  his  drawing  board  sketching 
Ferdinand,  then  a  quick  cut  introduces 
the  cartoon  in  color. 

While  the  effort  was  a  commendable 
enterprise  for  a  serious,  though  inexpe- 
rienced, student  of  animation,  the  pic- 
ture fails  to  adequately  carry  the  thread 
of  the  story  by  reason  of  too  few  scenes 
in  the  animated  sequence.  Some  of  the 
animation  is  excellent,  but  the  endless 
work  of  carrying  through  with  all  the 
necessary  drawings  was  an  almost  im- 
possible task  for  one  person  working 
only  in  his  spare  time  on  the  project. 

Plumlee  was  i6  years  old  when  he 
started  the  picture,  1 8  when  he  fin- 
ished. He  relates  he  didn't  even  have  a 
camera  or  projector  when  he  started  the 
production.  No  doubt  Plumlee  gained 
much  in  knowledge  and  experience  in 
this  initial  cartooning  venture,  and 
based  on  the  logic  and  technique  dis- 
played, should  show  remarkable  im- 
provement in  his  next  production.  The 
picture  received  a  two  star  animated 
leader  from  Home  Movies. 


YOU! 


•  All  amateurs,  whether  subscribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  iStars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 

When  submitting  films  for  review 
or  analysis,  please  advise  make  of 
camera,  speed  of  lens,  whether  or 
not  tripod  was  used,  or  if  you  used 
filters,  exposure  meter,  or  other  ac- 
cessories. 


I'MIIJiljCW        THROUGH  YOUR 


VAPORATE 
Your  Films 


^or  permanent  protection  against 
;limate.  scratches,  spots,  stains, 
finger  marks. 


DEALER 


NOW! 


VAP,Q^RATE 


 ^^7^-^  

Better  photo  finishers  offer  VAPORATE  I 
[  protection  for  still  negatives  | 

BELL  &   HOWELL  CO.,    1801    Larchmont.  Chicag} 
716  No.  La  Brea,  Hollywood 

VAPORATE  CO..  Inc..  130  W.  46th  St.,  N.  Y.  C. 


New  Harrison  D  uraline 
MOVIE  FILTERS  and  KITS 


New  SCREW-IX  TYPE  MOUNTED  FILTERS  to  fit 
all  8mm.  camer.is  haring  Wollensak  1.9  and  3.5  lenses, 
including  Keystone.  Bell  &  Howell.  Perfes  and  Revere. 
Single  filters  list  at  $2.30  each.  Kits,  containing  two 
filters — Kodachrome  Haze  and  C-4  (for  use  with  type 
"A"  Kodachrome  in  daylight) — a  Snap-on  Shade  and 
Filter-fold  Case  as  above  list  at  $5.50. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Ontical  Engineers 
8351  Santa  Monica  Boulevard        Hollywood.  California 


Kodachrome 

MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printine 

1197A   Merchandise   Mart,  Chicago 


Distinctive  TITLES 
and  expert  EDITING 

For   the   Amateur   and  Professional 
16mni   —  8mm 
Black   &   White,   Tinted   and  Kodachrome 
Write  for  our  new  illustrated  catalog 

STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York,  N.  Y. 


T  Rl  -LOK  TRIPOD 

ONLY  TRIPOD   THAT   LOCKS   IN   ANY  POSITION 
Will  not  Slip  or  Collapse  due  to  the  Improved  Feature  of 
RIES  PATENTED  TRI-LOKS. 
Tripod  Heads  for  All  Amateur.  Professional  and 
Commercial  uses 
SEE  THEM   AT  YOUR   DEALER  OR 
WRITE    FOR  CATALOG 

RIES   CAMERA  CO. 

1314   BEACHWOOD    DR.  HOLLYWOOD.  CALIF. 


PACE  214 


HOME  MOVIES  FOR  MAY 


Professional 
TITLING  SET 

Why  miss  the  fun  of  showing  movies 
with  that  completed  professional 
touch  of  theatre  quality  titles?  The 
new  Mittens  upper  and  lower  case 
Professional  set  is  now 
available  at  only  "9*  .Jw 

Available  in  Pin  or  Sanded  Back  Letters 

See  Mittens  titling  sets  at  leading 
camera  stnres.  Write  today  for 
illustrated    literature    of    our  line. 

MITTENS      LETTER  CO. 

REDLANOS  CALIFORNIA 


•lO  3dea^  for 

Filming  Children 


HOW  CAN  YOU  BE 
Without  Either  One 
Of   These  Booklets? 

One  that  will  give  you  ideas 
that'll  make  your  children's 
movies  the  talk  of  the  town! 
Other  is  replete  with  vaca- 
tion gags  that'll  increase  your 
vyeekend  or  summer-trip  fun  a 
hundredfold  I 

Priced  at  only  25c  each,  how 
can  you  miss?  Order  Now! 
They're  hot  off  the  griddle  and 
going  like  Aunt  Jemimas. 

Address: 

HOME    MOVIES  MAGAZINE 


6060  Sunset  Blvd. 


Hollywood.  Calif. 


<^efen^e 

3ilming^  .  .  . 

•  Continued  from  Page  ijS 

fense  and  community  groups.  Films  for 
the  instruction  of  air-raid  wardens, 
auxiliary  firemen  and  other  units  of  the 
Citizens  Defense  Corps  of  Los  Angeles 
will  be  obtained  and  presented  before 
the  thousands  of  volunteer  members  of 
these  organizations. 

Film  sources  of  the  bureau  will  be 
subjects  already  issued  and  being  plan- 
ned under  official  government  sanction 
as  well  as  others  to  be  produced  by  ad- 
vanced amateur  volunteer  groups  and 
the  motion  picture  industry. 

The  Bureau  will  also  arrange  for  pro- 
jectors to  show  the  films,  operators  to 
run  them,  and  lecturers  to  explain  them 
when  necessary  —  all  on  a  voluntary 
basis. 

Long  Beach 

The  Long  Beach  (Calif.)  Cinema 
Club,  whose  defense  filming  activities 
were  reported  in  FioME  Movies  for 
February,  have  completed  their  shoot- 
ing schedule,  and  are  now  engaged  in 
adding  the  narrative  sound  track. 

The  production,  probably  the  first 
pretentious  defense  film  produced  by  a 
voluntary  amateur  group,  was  filmed 
with  the  cooperation  of  the  Long  Beach 
Fire  department.  The  fire  chief  acted 
in  advisory  capacity  on  all  incendiary 
bomb  sequences  of  the  picture. 

Premier  of  the  picture  will  be  given 
in  the  Long  Beach  municipal  audito- 
rium, and  then  exhibited  throughout 
the  city  and  adjoining  communities  in 
school  auditoriums  which  have  been 
donated  for  the  purpose. 

ZJke  dreader 

Speaks  .  .  . 

•  Conlinueil  from  Page  1S2 

Evening  Primrose — awakens  at  dusk 
for  full  evening  display. 

All  of  the  above  are  the  most  com- 
mon flowers  to  be  found  in  the  average 
flower  garden  from  coast  to  coast.  By 
seeking  them  out  and  studying  them — 
timing  the  interval  required  for  opening 
or  closing — the  amateur  will  be  able  to 
plan  his  photography  accordingly. 

— James  Kearney, 
Los  Angeles.  Calif. 

Swappers 

Can  you  lend  a  hand  to  a  brother  f.lm- 
er,  su-pplying  needed  scenes  described  be- 
low? 

Fiugh  J.  Gray,  1 1 1 1  Winston  St., 
Houston,  Texas,  wants  to  contact  8mm. 


amateurs  in  the  following  cities  in  order 
to  obtain  8mm.  Kodachrome  footage: 
El  Paso,  Alpine,  Pecos,  Lubbock,  Ama- 
rillo,  Wichita  Falls,  Fort  Worth,  Tyler, 
Longview,  Waco,  Austin,  New  Braun- 
fels,  Kerrville,  Galveston,  Golaid,  Edin- 
burg,  and  Brownsville.  Which  just  about 
takes  in  the  state  of  Texas! 

Albert  Sellitto,  147  -  i  loth  Road, 
Jamaica,  New  York,  wants  to  purchase 
outright  some  8mm.  Kodachrome  foot- 
age of  New  York  World's  Fair. 

Legion  Film 

Dear  Editor:  I  would  like  to  swap 
100  ft.  of  1 6mm.  Kodachrome  of  the 
American  Legion  Parade  filmed  by  me 
on  Fifth  Ave.,  New  York.  It's  complete 
with  Park  Cine  art  titles  and  adequate 
sub-titles.  I'd  like  i6mm.  Kodachrome 
of  a  scenic  or  sport  subject  in  exchange. 

— Henry  Fistier, 
109}  President  St., 
Brooklyn,  N.  Y. 

experimental 
lAJork^kop  .  .  . 

•  Conliiiiied  from  Page  195 

interested  in  remodeling  their  machines 
to  accommodate  1600  foot  reels.  Ac- 
companying photo  shows  how  i6mm. 
Filmo  projector  was  modernized  to  pro- 
vide projection  of  reels  greater  than  400 
feet.  In  this  instance,  tripod  for  Da- 
Lite  screen  was  used  as  support  for  pro- 
jector. Regular  reel  arms  were  extend- 
ed 5",  using  Vi''^'  Vs"  steel,  and  install- 
ing the  reel  spindles  at  end  of  exten- 
sions. Regular  belt  pulley  on  lower  take- 
up  spindle  was  replaced  with  a  larger 
one.  Additional  parts  required  were:  i 
Bell  &  Howell  rewind  belt  for  No.  129 
projector,  and  2  Bell  &  Howell  feed 
belts  for  same. 

—Albert  Helzner, 
Chicago,  111. 

Title  As  You  Film 

A  novel  way  to  title  films  as  you 
shoot  vacation  and  travel  movies  is  to 
take  along  a  set  of  adhesive  title  letters 
or  plastic  letters  that  may  be  used  with 
liquid  adhesive,  and  compose  titles  by 
placing  letters  on  a  window  of  your 
automobile  and  shooting  the  title 
through  the  glass. 

Thus,  titles  will  be  in  their  proper 
place,  no  splicing  will  be  required,  and 
also,  such  titles  will  be  enhanced  by 
scenic  or  moving  backgrounds  filmed 
simultaneously  with  the  title. 

—Ward  Denny, 
Long  Beach,  Calif. 


Yearly  Subscription   Price  of  HOME 
MOVIES   goes   to   $2.50   June  1st. 
Subscribe    now    and    buy  Defense 
Stamps   with   the  savings! 


HOME  MOVIES  FOR  MAY 


PAGE  215 


TITLE  troubled 


By  GEORGE  W.  CUSHMAN 


»F  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self-addressed  stamped 
envelope  if  you  wish  an  early  reply. 

O.  /  have  followed  your  ad i  ice  in  centering  titles  on  my 
Home  Movies'  titling  stand,  and  although  the  titler  is  firm 
and  rigid,  the  field  I'aries,  especially  on  the  smaller  sized 
titles.  Hoiv  can  I  standardize  this  area  so  that  I  can  rely  on 
its  being  the  satne  at  all  times? — A.  J.  L.,  Bristol,  Conn. 

A.  You  did  not  say  how  your  auxiliary  lens  is  being  held 
in  front  of  the  lens.  If  you  are  using  adhesive  tape  or  simi- 
lar makeshift  means,  the  lens  is  not  being  replaced  in  the 
same  position  in  front  of  the  camera  lens  each  time.  As  a 
result  the  field  is  varying  due  to  the  slight  displacement  of 
the  auxiliary  lens. 

This  column  has  repeatedly  emphasized  the  importance 
of  all  factors  being  constant  so  that  consistant  results  mav 
be  expected  each  time  a  titler  is  used.  The  same  holds  true 
for  the  placement  of  the  auxiliary  lens.  It  should  be  placed 
in  a  holder  of  some  kind  that  permits  its  return  to  the  iden- 
tical location  before  the  camera  each  time.  The  variance 
of  an  inch  will  result  in  the  title  area  being  displaced  great- 
ly. And  the  greater  the  magnifying  power  of  the  auxiliary 
lens,  the  greater  the  displacement.  For  this  reason  you  have 
more  trouble  with  the  smaller  titles  than  with  the  larger. 
The  smaller  the  area  photographed,  the  stronger  must  be 
the  diopter  power  of  the  extra  lens. 

Q.  I  have  seen  attractive  spotlight  effects  in  titles  com- 
posed with  block  letters,  but  in  trying  for  similar  effects 
myself  I  get  too  much  contrast  and  the  title  appears  under- 
exposed even  though  the  letters  are  very  white.  Yonr  help 
in  the  matter  would  be  appreciated — N.  L.  F.,  Spartan- 
burg, S.  C. 

A.  Since  you  did  not  enclose  a  sample  of  your  title  film,  I 
can  only  assume  what  you  have  in  mind.  From  your  de- 
scription it  would  seem  that  you  are  using  only  a  spotlight 
for  illumination.  This,  of  course,  results  in  the  portions  not 
included  bv  the  spotlight  being  unlighted  and,  therefore, 
extremely  black  in  the  finished  film. 

The  title  shovild  be  evenly  illuminated  by  Photofloods  so 
that  even  the  shadowed  portions  will  have  some  detail  and 
graduation.  The  spotlight  is  then  added  for  the  effect  in- 
tended. If  the  spotlight  does  not  cast  sufficient  shadow  due 
to  the  brightness  of  the  Photofloods,  the  latter  should  be 
moved  awav  from  the  title  until  the  effect  desired  is 
achieved.  Although  to  the  eye  the  spotlight  effect  may  not 
appear  to  stand  out,  the  effect  will  be  more  pronounced  on 
the  screen.  A  little  experimenting  will  soon  bring  desired 
results. 


HOME    M  0  n  e 

TITLES 


PACE  216 


HOME  MOVIES  FOR  MAY 


CLASSIFIED 


IDlERTlSUfi 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  In  trying  times,  depend  on 
Bass.    Experience  counts. 

USED  CAMERAS 
16mm.  DeVry.  lOO  ft.  F:3.5  lens,  $10.50. 
lemm.  B.  &  H.  70A.  F:3.5  Cooke,  $44.50. 
16mm.  B.  &  H.  Model     121,     Cooke     F;2.7  lens, 
$57.50. 

16mm.  Simplex  Pockette  Magazine.  F:1.9  Kodak 

Anastigmat.  optical  finder.  $64.50. 
16mm.  Cine  K.  100  ft.,  F:1.9  Kodak  Anastigmat. 

with  case,  $67.50. 
16mm.  B.  &  H.  Model  121  Magazine,  1"  F:1.8  fo- 
cusing, $77.50. 

16mm.  Cine  Magazine   Kodak,   F:1.9   lens,  with 

case.  $92.50. 

16mm.  B.  &  H.  Autoload,  F:1.5  lens,  with  case, 
$110.00. 

16mm.  Victor  3  Turret,  Cooke  F:3.5,  1'  F:1.5 
WoUensak,  3"  Telephoto  and  case.  $124.50. 

16mm.  B.  &  H.  70DA.  1'  F:1.8  Cooke.  20mm. 
F:3.5  Cooke  and  3'  F:4  WoUensak.  case.  $235. 

16mjn.  Movikon.  Sonnar  F:1.4.  coupled  range 
finder,  case,  $295.00. 

RARE  CINE  LENSES 
78mm.  Kodak  Tele  F:4.5  for  Cine  B,  $32.50. 
50mm.  Meyer  Plasmat  F:2.7,  focusing  C  mount, 
$63.50. 

25mm.  Plasmat  F:1.5.  C  mount,  $67.50. 
iW  Meyer  Trioplan  F;2.8.  focusing  C  mount. 
$85.00. 

50mm.  Meyer  Plasmat  F:1.5.  focusing  C  mount, 
$87.50. 

3-i"  Cooke  F:3.3.  focusing  C  mount.  $87.50. 
6"  Cooke  Tele.  F:4.5.  focusing  C  mount.  $92.50 
1"  Cooke  F:1.5  focusing  C  mount.  $94.50. 
6'  Meyer   Tele-Megor   F:4.    focusing    C  mount. 
$95.00. 

USED  PROJECTORS 
8mm.  Keystone  G-8.  300  watt.  $22.50. 
8mm.  Keystone  L-8.  500  watt,  $35.00 
Bolex  8-16.  complete  with  lenses  and  carrying 

case,  $175.00. 
16mm.  B.  &  H.  57A,  400  watt  lamp  and  case. 

$50.00. 

16mm.  B.  &  H.  57G  250  watt,  variable  resistance 
and  volt  meter,  and  case.  $57.50. 

16mm.  Kodascope  EE.  750  watt  lamp,  with  lens. 
$62.50. 

USED  SOUND  PROJECTORS 
16mm.  Victor  Animatophone  33.  750  watt  lamp. 
10  watt   output.   1600  ft.   speaker  and  case. 
$217.50. 

In  stock  .  .  .  new  Bolex  8mm.  and  16mm-.  now. 
without  lenses,  $191.50.  Auricon  Recorders. 
$695.00. 

Limited  number:  Discontinued  new  model  Craig 
Jr.  16mm.  animated  Editor.  Splicer  and  Re- 
wind. Regularly  $31.50:  our  price.  $23.63. 

For  your  files:  Bass  Supplementary  Price  List  of 
Cine  Equipment — up  to  the  minute,  free  on 
request. 

BASS  CAMERA  COMPANY.  Dept.  HC.  179  W. 
Madison  St..  Chicago.  Illinois. 

•  STEWART  Warner  8mm.,  new  B.  &  L.  F.3. 
$37.50:  Latest  Model  Emel  8mm.  Turret  F  1.9. 
$142.50:  Berthiot  W.  A.  Emel  attachment. 
$39.50:  F  1.9  Hermagis  lens.  $39.50:  Keystone 
L8.  500  watt.  $31.50:  Ampro  UAB  16mm.  sound 
proj.:  guaranteed  L.  N..  $395.00.  ALADDIN 
CAMERA  EXCHANGE.  4  East  32nd  St..  N.  Y.  C. 

•  VICTOR  model  4.  News  Special,  natural 
aluminum  body,  chrome  trim,  sprocket  for 
sound  film,  turret.  1-inch  Dallmeyer  f  2.9.  f  3.5 
telephoto  lens.  case,  sacrifice  $110.00.  F.  H. 
BOYD.  Ashton.  m. 

•  VICTOR  3  16mm.  camera,  f  2.7  lens.  case, 
good  condition.  $50.00.  Eastman  model  A  cam- 
era, no  lens,  useful  for  printer,  fair  condition. 
$7.50.  ART  FORD.  1114  HartzeU  Ave..  Niles.  O. 

16MM.  CAMERA  BARGAINS 

Magazine  Cine  Kodak,  f  1.9  lens  $79.00 

Keystone  A-7.  f  2.7  lens,  latest   55.00 

Victor   5.    1-in.   f  1.5.    3-in.    f  3.5.  15mm. 

15mm.   f  2.7  WoUensak  lenses,  case.  ...  125.00 

Bell  &  HoweU  70A.  Cooke  f  1.8   60.00 

Ensign  Auto  Kinicam.  f  2.6  Cinar.  case...  45.00 

Bolex.    f  1.4    Hektor.    case  280.00 

Cine    Kodak    Special.    1-in.    f  1.9.  15mm 

f  2.7.    6-in     Cooke    f  4.5    lenses,  extra 

magazine.   Cine  Kodak  Special  Tripod. 

case   450.00 

H.  STERN  CO..  872  Sixth  Ave.,  New  York  City. 

Established  1858. 

•  STANDARD  16mm.  projector.  750  watt,  with 
motor  rewind,  improved  shutter,  and  rheostat 
speed  control.  WiU  sell  for  $54.50.  10-day  money- 
back  guarantee.  Write  BOX  A-2.  HOME 
MOVIES,  6060  Sunset  Blvd..  HoUywood. 


Have  you  Some- 
thing to  sell? 


Tnrn  it  into  cash  with  a  Home  Movies  classi- 
fied ad! 

BATES:  Ten  cents  per  word;  minimnm  charee, 
S2  cash  with  order.  CloslnB  date.  10th  of  pre- 
cedins  month.  HOME  MO\lES  does  not  guaran- 
tee goods  advertised.  Send  ad  copy  to  6O60  Sun- 
set Bonlevard,  Hollywood.  California. 


EQUIPMENT  FOR  SALE 

•  SACRAFICE  —  practicaUy  new  16mm.  Bolex 
camera  complete  with  one  inch  f  1.5  WoUensak 
lens.  First  check  for  $250.00  takes  it.  Write  BOX 
M-3.  HOME  MOVIES.  6060  Sunset  Blvd.,  HoUy- 
wood, Calif. 

•  CINE  Kodak  Special  reflex  image  extension 
tube  magnifier,  like  new.  .*52.00.  6"  E.  K.  Lens. 
$45.00.  439  NO.  LAUREL  A\'E..  HoUywood.  Calif. 


 WANTED  

•  CINE  SPECIAL  with  accessories.  Also  Taylor- 
Hobson  lenses  for  C  mountings,  wide-angle,  tel- 
ephoto and  one-inch  f,  2  7.  PAUL  BRADLEY. 
3721  N.  LaSaUe  St..  Indianapolis.  Ind. 

•  WANTED — used  equipment.  Bargain  list  on 
request.  PETERS,  41-B  So.  4th  St.,  AUentown. 
Penna. 

•  WANTED  used  8mm. -16mm.  films,  cameras, 
projectors.  Spot  cash  for  anything  photographic. 
We  seU,  trade.  BOBS,  154  East  47th  St.,  New 
York  City. 

•  WANTED — Used  16mm.  camera  and  projec- 
tor. Must  be  A-1  condition.  Advise  price  and 
detaUs  first  letter.  M.  J.  WERNER,  Box  440. 
WaUingford.  Conn. 

•  PRH'ATE  party  wants:  Filmo  70DA  with  or 
without  lenses.  Also  Filmo  16mm.  projector, 
etc.  LLOYD  RAAB.  Portage.  Wash. 

•  WANTED — Berndt  Auricon  synchronous  mo- 
tor drive,  use  with  Eastman  Cine  Special  and 
Auricon  recorder.  Buy  or  trade.  Wire  offer.  R. 
R    HUTCHISON.  Pullman.  Wash. 

•  WANTED — Eastman  Cine  Special,  f  1.9  lens, 
with  case.' telephoto  lens,  exta  magazine  if  pos- 
sible. Write  lowest  price.  Must  be  A-1  condi- 
tion. A.  R.  CARUCCI.  422  E.  4th  St.,  Wilming- 
ton. Delaware. 

•  WANTED — 16mm.  Kodachrome  footage:  trav- 
el, bathing  girls,  science,  with  reproduction 
rights.  Originals  returned.  Write  BOX  50. 
HOME  MOVaS. 

•  WANTED — Your  8mm.  or  16mm.  productions 
having  commercial  value:  comedies,  news,  dra- 
mas, etc..  wanted.  Write  fuU  detaUs.  H.  MACY. 
4621  Melrose.  HoUywood.  Calif. 

•  BELL  &  HOWELL  "UtUity"  projector,  new 
or  slightly  used.  DAVTD  ISRAEL.  1148  Griswold. 

Detroit.  Mich. 


KODACHROME    FILM  RELEASES 

«  KODACHROME  TRA\-EL  FILMS.  La-.es:  re- 
leases now  avaUable  for  distribution,  in  8  and 
16mm.  A  postcard  will  bring  listings.  KENWOOD 
FILMS.  818  E.  47th  Street.  Chicago.  111. 

•  MOVIES  for  grownups.  'Not  Artsl.  Many  in 
Kodachrome.  8mm..  16mm.  Lists,  handy  lens 
cloth,  dime.  JENKINS.  392  Elmira,  N.  Y. 


 FILM  RELEASES  

•  SOUND  and  Silent  Filnis  excr.ar.sed.  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE.  5  Little  Bldg..  Boston.  Mass. 

•  EMM. -16MM  sound  and  silent  films,  projec- 
tors, and  cameras— bought,  sold  and  exchanged. 
Trades  or  terms  accepted.  Free  bargain  buUe- 
tin.  ZENITH.  308  West  44th.  New  York. 

•  16MM  Exchanges,  trade-ins:  sUent  films. 
$1.00  reel:  sound.  $2.00.  Bought^  sold.  Castle. 
Official  latest  releases  in  stock.  BETTER  FILMS. 
742  New  Lots  Ave..  Brooklyn.  N.  Y. 


FILM  RELEASES 


•  THE  8MM.  "Movie-A-Month  Club"  presents 
Blanche  Sweet  in  "That  Girl  Montana,"  a  fuU 
length  Western  feature  by  Pathe  in  five  reels — 
$4.00  per  reel.  '220  ft.  per  reel).  Running  time 
1'2  hrs.  COPE  STUDIO,  3720  South  Figueroa, 
Los  Angeles,  Calif. 

•  YOURS  for  the  asking!  Mammoth  40-paee 
film  rental  catalog — sUent,  sound.  8mm.  and 
16mm.  Forward  your  name  and  address  today. 
NATIONAL  CINEMA  SERVICE.  69  Dey  St.. 
N   Y  C. 

•  SELLING  our  used  8- 16mm.  library  subjects, 
cheap.  Films  exchanged  75c.  Large  list.  GARY 
FILMS.  369  East  55.  Brooklyn.  N.  Y. 

•  RENTALS — Exchanges — Sales:  latest  quality 
8mm. -16mm.  home  movies  avaUable  now!  Write 
for  free  catalogs.  BAILEY  FILMS.  1651  Cosmo. 
HoUywood.  Calif. 

•  1000  Subjects  listed!  New  Catalog  -  8mm.  com- 
edies 200  ft.  each,  brand  new,  $4.50.  Liberal  ex- 
changes for  your  old  subjects.  ABBE  FILMS,  1265 
Broadway,  N.  Y.  City. 

•  8MM.  FILMS!  New  Castle  releases.  Good  used 
prints.  Sales,  exchanges,  trade-ins.  RIEDKL 
FILilS.  Dept.  HM-542.  2221  W.  67th  St.,  Cleve- 
land. Ohio. 

•  8-16MM.  films  bought,  sold,  exchanged.  Silent- 
Sound  odd  reels.  $1.50.  complete  subjects  $2.00 
up.  Catalog,  sample  film.  10c.  INTERNATIONAL. 
2120  Strauss.  Brooklyn.  N.  Y. 

•  8-16MM.  FILMS — Free  catalog  Cwith  sample 
film.  10c  I.  PARKWAY  EXCHANGE,  961  Eastern 
Parkway.  Brooklyn,  N.  Y. 


FILMS 


•  8MM.  -  ;6MM  F"Jm.  including  processing,  day- 
light loading,  non-halation.  25  ft.  8  8mm.  West- 
on 12.  85c:  Weston  24-16.  J1.25:  Weston  64-40. 
$1.50.  100  ft.  16mm.  Weston  12,  $1.85:  Weston 
24-16.  $3.75:  Weston  64-40.  $4.00.  RITTER  FILM 
SERVICE.  629  Lyman  Ave.,  Oak  Park.  111. 


TITLING 


•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16".  18",  20".  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  aU  tillers 
which  provide  for  interchange  of  lenses.  Also 
ideal  for  general  close-up  photography.  Complete 
kit  $3-00.  Separate  lenses.  60c  each.  Also  avaU- 
able in  6".  8"  and  12"  focal  lengths  for  lUtra- 
closeup  work.  HOLLYWOOD  CINE  PRODUCTS 
CO..  3221  So.  Figueroa  St..  Los  Angeles,  Calif. 

•  Ti  l  LING  LETTERS  that  give  you  profession- 
al results.  Pin  letter  and  sanded  back  letters. 
Complete  sets  avaUable  $4.75  up.  Write  for 
descriptive  Uterature.  Ask  about  Santa  Claus. 
Turkey  and  other  title  iUustros-  Big  variety  of 
large  size  and  varied  style  letters  can  be  pur- 
chased by  the  letter  to  fill  aU  titling  needs. 
MITTENS  LETTER  CO..  Redlands.  CaUf. 


 PROCESSING  SERVICE  

•  MOTION  picture  processing.  100'  16mm..  75c: 

50'  16inm-.  50c:  25'  8  8mm..  35c:  25'  8mm..  25c. 

RITTER  FILM  SERVICE,  629  Lyman  Ave..  Oak 
Park,  m. 


HOBBY  BOOKS 


•  Save  money  in  wasted  film  and  increase  your 
enjoyment  of  home  movie  making  by  haviiie 
a  complete  textbook  on  operation  of  the  movie 
camera.  Lack  of  knowledge  restilts  in  wasted 
film  and  loss  of  enjoyment.  If  you're  a  begin- 
ner in  cinematography  you'U  want  a  copy  of 
'  How  to  Use  a  Movie  Camera."  Just  50c  and 
well  worth  it. 

There's  fun  and  satisfaction  in  processing  your 
own  film,  besides  enabling  you  to  use  inexpen- 
sive bulk  film.  Full  of  instructions  and  advice 
by  experts,  plus  complete,  easy-to-undersland 
plans  for  building  your  own  processing  equip- 
ment. "How  to  Prtxess  Movie  Film"  is  a  money 
saver  at  50c.  postapid. 

The  basic  textbook  of  home  titline  is  another 
"must"  for  the  amateur's  library.  This  popula- 
volume  teUs  all  about  title  exposure,  what 
equipment  to  use.  aU  about  auxUiary  lenses,  and 
how  to  make  your  own  titler.  Send  $1.00  today 
for  vour  copy  of  "How  to  Title  Home  Movies." 

VER  HALEN  PUBLICATIONS.  60S0  Sunset 
Blvd..  HoUywood.  Calif. 


27A..."HflW  TO  DO  IT  BOOKS" 

are  eMential  amateur  equipment! 


Nothing  like  the  right  book  to  tell  you  HOW  when 
you're  stuck  for  the  answer  to  an  amateur  movie  prob- 
lem. Each  of  these  books  belongs  in  every  amateur's  kit 
of  movie  making  equipment.    They  not  only  supply 


$1 


WW  TO  TITLE 

HoniEmoviEj 


answers  to  problems  but  offer  incentive  for  expanding 
your  hobby — pointing  out  the  pleasures  of  titling  your 
movies,  home  processing,  and  gadget  and  accessory  build- 
ing. All  books  will  be  shipped  postpaid.  Order  today! 


Now  in  its  second  edition.  Most  popular  book  on  the  subject 
yet  published.  Gives  all  data  and  charts  needed  for  every 
type  of  home  movie  titling;  explains  use  of  shims  for  ultra 
closeups;  gives  data  on  exposure  with  photofloods,  title 
areas,  field  of  view,  auxiliary  lenses,  AND  complete  plans 
for  building  your  own  titler.  Mailed  prepaid  for  only  $1.00. 


'   ,i 


This  is  the  book  that  takes  up  where  your  camera  instruction 
book  leaves  off.  Makes  clear  the  functions  and  operation  of 
all  parts  of  your  camera  and  lays  the  groundwork  for  good 
photography  with  your  first  roll  of  film.  Points  out  mistakes 
to  avoid  which  will  save  many  times  its  price  in  film.  It's  a 
"must"  for  every  beginner.  Price  50c,  postpaid. 


Processing  home  movie  film  is  far  more  fascinating  than  de- 
veloping snapshots.  It's  extremely  simple  too;  and  if  you're 
a  real  amateur,  eventually  you'll  want  to  process  your  movie 
films.  Here's  the  book  that  tells  you  how;  gives  all  formulas, 
plus  plans  for  building  your  own  processing  equipment.  It's 
a  dependable  advisor,  and  only  50c. 


With  priorities  curtailing  equipment  and  accessories,  you'll 
have  to  build  the  gadgets  you  need.  But  it's  a  lot  of  fun 
and  here's  just  the  book  that  pictures  and  describes  many 
helpful  gadgets  for  lenses,  filters,  tripods,  for  fades  and  lap- 
dissolves,  ultra-closeup  filming,  titling,  etc. — approximately 
100  pages  of  vital  data  and  plans  for  only  $1.00. 


6060   SUNSET   BLVD.,    HOLLYWOOD,  CALIF. 


5,000  Pu^uJtade^  /l^4e^ 


MOST  HELPFUL  BOOK 
IN  HOME  MOVIE  FIELD 


MORE  THAN  225  PAGES 
MORE  THAN  600  PICTURES 


*  E.A.Shielda,  juj.Llb] 

- r3  State  Gt . , 

'^'T  0  h  e   t  a  -  .   N .   y  ' 


THE  CAMERA 
MUST  DO  ITS  PART 

GOOD  MOVIES  are  born  of  good 
movie-making  ideas — of  course. 
Yet  two  other  factors  are  vitally 
necessary.  Good  equipment — in 
good  operating  condition. 

New  cameras  are  more  scarce 
these  days.  But  years  treat  "old" 
cameras  kindly — if  they  are  given 
the  proper  care.  The  hrst  Cine- 
Kodaks  and  Kodascopes,  intro- 
duced over  15  years  ago,  are  still 
giving  "good-as-new"  performance 
to  those  who  have  given  thought  to 
their  maintenance. 

AN  OUNCE  OF  PREVENTION  . . . 

Movie  cameras  and  projectors,  as  is  true 
of  all  other  precision  equipment,  need 
periodic  cleaning,  adjustment,  lubrication. 
Much  of  this  you  yourself  can  do  by  follow- 
ing the  directions  given  in  the  manuals 
supplied  with  your  equipment.  In  addition, 
your  Cine-Kodak  dealer  will  gladly  help  out. 

Periodically,  however,  servicing  won't 
suffice.  A  complete  overhaul  is  the  wise  and 
economical  move. 

...  OR  A  POUND  OF  CURE 

Authorized  repair  shops  of  the  Elastman 
Kodak  Company  are  ready  to  effect  com- 
plete overhauls  of  all  Cine-Kodaks  and 
Kodascopes.  And  "complete  overhaul" 
means  just  that!  All  parts  that  need  adjust- 
ment, and  can  be  adjusted,  are  adjusted. 
Other  parts  are  repaired.  Still  others  re- 
placed. The  equipment  is  next  given  ex- 
actly the  same  tests  and  inspection  which 
brand  new  Cine-Kodaks  and  Kodascopes 
must  undergo — and  it  is  then  returned  to 
you,  mechanically  good  as  new,  completely 
overhauled,  and  that  overhaul  backed  by 
Eastman. 

Repair  and  overhaul  prices  are  available 
from  your  Cine-Kodak  dealer — or  directly 
from  Rochester,  N.  Y. 


Camera  Angles,  Clo««-upi,  Clouds,  Color  Film,  Composition,  Continuity,  Customs,  Ouplicatos,  Ooublo 
Ixpocvra,  Editing,  Enlargoments,  Exposure,  Fades,  Film,  Film  Libraries,  Filters,  Finishing,  Focusing, 
Indoor  Movies,  Lenses,  Lighting,  Panoraming,  Photofloods,  Plays,  Portrait  Attachments,  Posing, 
Proiectien,  Reverse  Action,  Scenarios,  Scene  Length,  Scenics,  Shewing  Movies,  Silhouettes,  Slow 
Motion,  Splicing  Film,  Stunts,  Tempo,  Titling,  Trick  Shots. 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


LARGEST  CIRCULATION  OF  ANY  AMATEUR  MOVIE  MAGAZINE! 


/or  y^our  8 mm  and 

16mm  projectors! 


BOSKO 


/N 


200  Ft. 
TOO  Ft 


rnbe.  ^  comica  <.„ 


J^e  second  re 
pro 


100    Ff      I  a; 

50   ft  'I'"'"- 


IN  THE  AIR  WITH  THE  R.  A.  F. 

No.  628-B 

A  compelling  aviation  documentary  of  British  Royal  Air  Force  flyer 
in  action,  showing  various  types  of  British  craft,  cadets'  first  attemc 
at  fonmation  flying,  etc. 

200  Ft.   16mm   S6.00 

100  Ft.     8mm     3.00 


HOLLYWOOD 

FILM  ENTERPRISES, 


INC. 

•     6060  Sunset  Boulevard 


FREE!  —  LATEST  CATALOGS  .  .  . 

LfStirg  all  r*e«esT  a'^irrared  cartoons  and  ottier  subtects  available 
frora   Hol'r"Ood   Rim   Errerprisej.  Write  for  your  copy  today! 

HOLLYWOOD  HLM  ENTERPRISES.  INC. 
MKO  SMset  Bl*d.. 
Hollywood.  CalH. 


je^'fe— err : 


P  esse  send  '^e  yoLr 


NAME 


\DVISORY  EDITORS 

R.  A.  K.  BAUMGARDNER 

Peoria  Cinema  Club 

ETER  BEZEK 

Chicago  Cinema  Club 

.  JAMES  BIALSON 

Amateur  Mofion  Picture  Club  of  St.  iouis 

.  MOSS  BROWN 

Dallas  Cinema  Club 

/ALTER  BRACKEN 

The  8-16  Movie  Club,  Phila<ielphia,  Pa. 

V,  EMERSON  CLYMA 

Detroit  Society  o<  Cinemafogrdpheri 

USSELL  A.  DtXON 

Pittsburgh  Amateur  Cinoma  Club 

;YRIL  DVORAK 

Suburban  Amateur  Movie  Club 

.RTHUR  E.  GIBBS 

Portland  Cine  Club 

AY  A.  HOOK 

Seattle  8mm  Club 

.LFRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

.  E.  NESTELL 

Cinemen  Club 

lARCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Ctub 

GILBERT  B.  PETERSON 

Metropolitan  Cine  Club 

u  THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

.  PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 

:EED  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 

/I.  F.  SISSEL 

Austin  Movie  Club 

:URTIS  O.  TALBOT 

Metro  Movie  Club  of  Chicago 

itered  ,is  Second-Clats  Matter,  May  i,  (938,  at 
e  PostoHica  if  Los  Angeles,  Catif.,  under  the 
Act  of  March  3.  187?. 

jbscripfion  rates:  U.  S.  $2.50  per  year.  Canada 
'd   Foreign  Countries,  $3,50  per  year.  Single 
>pie!  25c,  Canadian  i  Foreign  single  copies  35c. 
Advertising  rates  on  application. 


uonis 


•Join  Home  Mo  u 


Keg.  U.  S.  Pat.  Off. 


Copyright  1942  and  published  monthly  by  Ver  Haien 
Publications,  Hollywood,  Calif.  No  part  of  magazine 
may    be    reprinted    without    specific  permission. 

Member  Audit  Bureau  of  Circulations 
CONTENTS  FOR  JUNE,  1942 

DEFENSE    FILMING    ACTIVITIES    222 

INFORMATION     PLEASE  .   224 

WITH  THE  REEL  FELLOWS       22  6 

REVIEWS  OF  AMATEUR  FILMS  By  J.  H.  SchoCIt   22/ 

FOREST  DEFE'NSE  FILMING  IN  FULL  SWING  By  Jack  Iricitt    229 

TAKE  YOUR  CAMERA  TO  WORK  By  f.  H.  Schoetl     23O 

A  GUIDE  TO  FILMING  YELLOWSTONE  PARK. — By  Charles  F.  Ruff  -  _  231 

WHAT  BEGINNERS  SHOULD  KNOW  ABOUT  FILTERS 

— By  Stanley  E.  Andrews  i}i 

YOU  CAN  FILM  THESE  TRICK  EFFECTS  By  George  A.  Guilld    233 

FADER  CONTROL  FOR  "sPE'cIAL"  LAP  DISSOLVES 

— By  Curtis  Randall  234 

HOW   TO   FILM    ULTRA-CLOSEUPS    235 

YOU  can't  miss  WITH  THIS  MOVIE  CLUB  PLAN 

— By  W.  Emerson  Clyma  236 

WHY  SCENES  SHOULD  BE  PLANNED,  FILMED  AND  EDITED  FOR 

SEQUENCE — By  George  W.  Cushman   237 

EXPERIMENTAL    CINE    WORKSHOP    238 

IF  YOU  WANT  A  FILM  TO  SHOW    24° 

FILTER    FACTOR    TABLES    245 

TITLE  TROUBLES — By  George  W.  Ciishman   255 

HOME  MOVIE  TITLES — By  Edwund  Turner    255 


CHAS.  |.  Ver  HALEN 

PUBLISHER 


C.  I.  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


JUNE 


NUMBER  5 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
|.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S      MAGAZINE       FOR      THE      MOVIE  AMATEUR 


PACE  222 


HOME  MOVIES  FOR  JUNE 


EASIER 

TO  ADJUST 
IN  HEIGHT 


filmlng^  activities  , 


J^aiiln^  ot  ^ouretln^  ike 

^CHALLENGER 
SCREEN 

(Reg.  U.  S.  Pat.  Off.) 

"Poes  NOT  ^kan^e  ike 
^cteen  ]^topotiioni 

When  you  adjust  the  Da-Lite 
Challenger  Screen  to  the  desired 
viewing  position,  you  do  not  need 
to  make  additional  adjustments  of 
the  case  or  fabric  to  keep  the  pic- 
ture area  the  right  size.  Raising  the 
Challenger  does  not  pull  the  fabric 
further  from  the  case  and  thus 
necessitate  moving  the  case  up  sep- 
arately. Da-Lite's  exclusive  pat- 
ented inner-locking  device  raises 
or  lowers  the  case  and  the  fully 
opened  screen  in  one  operation. 

•  NO  SEPARATE  ADJUSTMENTS  OF  CASE 

•  NO  THUMBSCREWS  TO  TIGHTEN 

Ask  your  dealer  for  the  Da-Lite 
Challenger  Screen.  Write  for  lit- 
erature! Da-Lite  Screen  Co.,  Inc. 
Dept.  6HM,  2723  No.  Crawford 
Avenue,  Chicago,  Illinois. 


Cincinnafi  C.  D.  C. 

Ralph  V.  Haile,  reporting  on  activi- 
ties of  the  Cincinnati  Citizens  Defense 
Corps,  of  which  he  is  educational  direc- 
tor, states  that  several  sound  films  for 
Civilian  Defense  are  being  planned, 
will  probably  be  in  production  before 
April  loth. 

"I  early  forsaw  the  tremendous  part 
1 6mm.  films  would  play  in  civilian  de- 
fense training,"  Haile  stated,  "and  as  a 
consequence,  we  are  following  a  very 
definite  plan  here.  First,  location  of  all 
local  1 6mm.  Sound  projectors,  individ- 
ual as  well  as  school-owned,  are  being 
listed  and  the  owners  invited  to  donate 
their  use  for  exhibition  of  defense  films. 
Location  of  available  projectors  are 
marked  on  a  large  wall  map  with  num- 
bered map-tacks  for  quick  reference. 
Twenty-six  public  and  parochial  schools 
have  offered  use  of  their  classrooms  or 
auditoriums  for  screening  the  films. 

"At  present,  most  of  the  training 
films  are  available  only  from  rental 
sources.  But  we  are  now  actively  en- 
gaged in  an  effort  to  hurry  up  the  free 
films  the  O.  C.  D.  is  supposed  to  pro- 
duce. We  have  arranged  for  some  1900 
letters  to  be  written  by  men  now  being 
trained  as  instructors.  These  letters  are 
being  sent  to  our  senator,  Robert  Taft 
and  congressmen,  Hess  and  Elston.  I 
have  ilso  written  to  Bell  &  Howell,  sug- 
gesting they  induce  Boston,  Dallas,  San 
Francisco,  Los  Angeles,  and  Chicago  to 
take  similar  steps. 

"The  defense  films  we  shall  produce, 
I  intend  to  donate  to  the  defense  effort. 
I'd  be  glad  to  hear  of  similar  activities 
of  West  Coast  groups." 


Norfolk,  Va. 

Sidney  Mason  of  the  Norfolk  (Va.) 
Amateur  Movie  Club  has  been  appoint- 
ed Director  of  the  Educational  and  In- 
structional Division  of  the  public  rela- 
tions department  of  Norfolk's  OfSce 
of  Civilian  Defense.  In  this  capacity. 
Mason  will  supervise  the  exhibition  of 
civilian  defense  films  and  undertake  a 
survey  of  all  i6mm.  sound  projectors 
available  in  Norfolk  for  screening  of 
defense  instructional  films.  Mason's  first 
screening  was  before  group  of  nurses 
of  Norfolk's  General  Hospital  when  the 
sound  film,  "How  to  Fight  An  Incen- 
diarv  Bomb"  was  shown.  Later,  a  dem- 


onstration was  held  at  Foreman  Field  on 
the  proper  procedure  for  extinguishing 
incendiary  bombs  and  the  complete 
demonstration  filmed  by  members  of 
the  Norfolk  Amateur  Movie  Club. 

Tulsa,  Okla. 

An  interesting  movement  in  connec- 
tion with  the  war  effort,  while  not  di- 
rectly allied  with  civilian  defense,  is 
that  started  by  the  Tulsa  Am-Mo- 
Club,  leading  amateur  movie  group  of 
that  city.  They  announce  members 
have  offered  their  services  and  use  of 
their  cameras  to  film  movies  of  families 
and  sweethearts  of  men  now  in  the 
service,  such  films  to  be  sent  to  men 
in  the  armed  forces  away  from  home. 
Also,  the  service  is  available  to  enlisted 
m.en  who  may  be  stationed  or  visiting 
Tulsa  who  wish  to  have  movies  made  of 
themselves  to  send  home. 

Pictures  are  made  on  either  8mm.  cr 
1 6mm.  film,  in  either  Kodachrome  cr 
black  and  white,  and  the  only  cost  to 
the  men  is  for  film  used. 

Toronto,  Canada 

Recently  directors  of  the  Toronto 
Movie  Club  offered  the  club's  services 
to  the  Canadian  Government  to  pro- 
duce one  or  more  films  for  the  war  ef- 
fort. Their  offer  was  immediately  ac- 
cepted and  they  were  sent  a  scriot  en- 
•  Continued  on  Paj^e  2^4 


Planning  A  Defense  Film? 

Individual  amateurs  or  amateur  club 
groups  who  wish  to  assist  in  the  war  ef- 
fort  by   producing   a   civilian   film  are 
offered  the  following  suggestions: 
I.   First  consult  with   your  local  office 
of    Civilian    Defense,    offering  your 
services,  and  inquire  of  the  type  of 
film  needed  most. 
1.    Seek  advice  and  consultation  of  Ci- 
vilian Defense  officials  in  preparing 
your  script. 

3.  Where  films  are  to  be  made  pertain- 
ing to  incendiary  bombs,  you'll  find 
your  local  fire  department  willing  to 
assist  and  helpful  in  staging  bomb 
fire  scenes. 

4.  For  films  on  subject  of  first  aid,  con- 
sult with  your  local  Red  Cross  head- 
quarters who  will  gladly  cooperate 
with  suggestions  for  your  picture 
and  help  you  stage  first  aid  routines. 

5.  Do  not  hesitate  to  write  editors  of 
Home  Mo\ies  for  advice  on  any  ci- 
vilian defense  filming  problem.  This 
advisory  service  is  available  to  every 
movie   amateur   without  obligation. 


33  Ifea^ 


HOME  MOVIES  FOR  JUNE 


PAGE  223 


Me  ZION  GRAND  CANYON 


mm. 


•  See  on  your  own  home  screen  the  wonders  that  yearly 
draw  milUons  of  visitors!  Sublime  splendor!  Magnificent 
vistas!  See  picturesque  Navajo  Lake!  Pinnacled  cities  in 
stone!  A  great  natural  bridge  of  stone!  Gaze  on  giant  cathe- 
dral-like effects  and  Gothic  towers.  Gasp  at  the  beauty  of 
the  Great  White  Throne!  See  Mount  Majestic . .  .The  Watch- 
man . . .  marching  mountains  that  lead  you  on  to  the  supreme 
thrill  of  Grand  Canyon's  incomparable  glory!  Here  is  the 
picture  that  every  projector  owner  should  own.  It's  an  epic 
of  artistry!  OWN  IT  today  for  less  than  the  cost  of 

UNEXPOSED  film! 

All  Castle  16  MM  films  are  processed  by  VAP-O-RATE.  All  Castle  8  MM  are  also  treated. 


LOW 
COST 

8mm 

16mm 

16mm  Sound 

50  ft.  $1.75 
180  ft.  $5.50 

100  ft.  $2.75 
360  ft.  $8.75 

350  ft. 

$17.50 

COLOR.'  This  great  picture  is  also  available  on  special 
order  in  color.  Ask  your  dealer  or  write  for  special  lengths 
and  prices. 


DON'T  WAIT!  GET  THIS  SUPERB  FILM 
AT  YOUR  PHOTO  DEALER'S  TODAY! 


New  1942  Castle  Films  Catalogue  de- 
scribing over  a  hundred  thrilling  home 
movies.  Fill  out  coupon  and 
send  for  it  now! 


CASTLE  FILMS 
RCA  BLDG. 
NEW  YORK 


FIELD  BLDG. 
CHICAGO 


RUSS  BLDG. 
SAN  FRANCISCO 


ADDRESS 
N  EAREST 
OFFICE 


Please  send  me  Castle  Films'  New  1942  free  Catalogue. 


Name 


Address- 


RCA  BLDG.,  NEW  YORK 


FIELD  BLDG.,  CHICAGO 


RUSS  BLDG.,  SAN  FRANCISCO 


City- 


State- 


PAGE  224 


HOME  MOVIES  FOR  )UNE 


1 


VOOCOOLT^HT 


YOU  HAVE  TO  PAY  MORE  FOR 
ANY  OTHER  FILM  CAPABLE 
OF  COMPARABLE  RESULTS 


The  value  of  any  film  must  be  de- 
termined by  the  results  you  get  — 
and  the  price  you  pay.  That's  why 
most  users  of  KIN-O-LUX  MOVIE 
FILMS  have  switched  to  KIN-O-LUX 
—  and  for  good  —  after  they've 
tried  and  compared  other  films. 
Because  speed  and  latitude  to  "get" 
the  picture  and  fine  grain  produces 
finer  projection  —  at  lower  prices 
than  you  pay  for  any  other  film  of 
comparable  quality  —  experienced 
camera  users  say  — 

KIN-O-LUX 


Weston  8;  Scheiner 
$3.20-100  ft. 

Oufdoor 

Weston  12;  Scheiner  20° 
$3.75-100  ft. 

Indoor  •  Oufdoor 

Weston  50;  Tung.  40 
Scheiner  26°;  Tung.  24 
$6.00-100  ft. 

3,  GOLD  SEAL  Indoot  On!/ 

r-^^^  Weston  100;  Scheiner  29° 

^^^^  (No  Outdoor  Rotings) 

$6.40-100  ft. 


information  nun 


KIN-O-lUX    •    105  W.  40  ST.    •    NEW  YORK 


Emulsion  Ratings  (W.  A.  Norgren, 
Jr.,  Riverdale,  Md.) ) 

Q.  1  am  a  neiv  subscriber  to  Home 
Movies,  also  a  beginner  at  making  mov- 
ies. I've  noticed  the  table  of  film  emul- 
sion ratings  which  you  publish  regular- 
ly but  J  do  not  understand  their  mean- 
ing. Will  you  please  explain? 

A.  Until  you  graduate  from  setting 
your  exposures  according  to  the  expos- 
ure chart  attached  to  your  camera  and 
begin  to  use  an  exposure  meter,  you 
need  not  worry  about  emulsion  ratings. 
But  when  using  an  exposure  meter,  then 
you  must  know  the  "rating"  of  the  film 
used  in  order  to  be  able  to  read  your 
meter  correctly. 

The  emulsion  ratings  indicate  the 
speed  or  sensitivity  of  the  various  films. 
Eastman  8mm.  Regular  Panchromatic 
for  example,  rates  Weston  8  in  daylight, 
whereas  the  faster,  more  sensitive,  East- 
man Super-X  Panchromatic  rates  Wes- 
ton 24.  The  latter  is  i  Yz  times  faster 
and  would  therefore  require  reducing 
exposure  or  closing  down  the  lens  1 5-4 
stops  if  used  under  identical  light  con- 
ditions. 

In  the  chart  referred  to,  ratings  are 
indicated  under  headings  of  Scheiner, 
Weston,  and  G-E.  These  indicate  the 
official  ratings  established  by  these 
sources.  Scheiner  was  the  original  film 
rating  guide.  Then  came  Weston  (by 
the  makers  of  Weston  exposure  meters) , 
and  later,  G-E — General  Electric.  The 
latter  ratings  apply  only  to  use  of  G-E 
exposure  meters.  Weston  ratings  apply 
to  the  use  of  several  popular  make  me- 
ters in  addition  to  the  Weston.  Schein- 
er ratings  are  little  used  in  amateur 
movie  photography. 

Lenses  (Joseph  C.  Poley,  Aldan,  Pa.) 

Q.  /  am  considering  buying  an  f  r.9 
lens  for  my  camera.  Is  it  advisable  to 
trade  my  present  f  3.5  lens  or  uould  I 
find  it  necessary  to  have  both? 

A.  For  ordinary  filming  purposes,  the 
f/1.9  lens  will  take  care  of  your  re- 
quirements, do  everything  your 
lens  did  plus  giving  you  added  speed 
and  the  ability  to  film  under  light  con- 
ditions not  possible  with  the  f  '3.5. 
Unless  the  f  3.5  possesses  some  excep- 
tional qualities,  you  may  not  particu- 
larly need  it  after  acquiring  the  f/1.9. 

Smooth  It  Out  (J.  R.  Samuel,  Harvey, 
111.) 

O.  I've  selected  a  number  of  musical 
recordings  to  be  played  t  ia  dual  turn- 
tables in  accompaniment  with  projec- 
tion of  my  8mm.  film.  However,  much 


•  Readers:  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


of  my  film  was  shot  "on  the  fly"  and  as 
my  camera  is  not  equipped  with  fading 
device,  the  jumps  from  scene  to  scene 
are  much  too  abrupt  for  the  musical 
accompaniment.  If  I  had  been  able  to 
make  fades  at  the  beginning  and  end  of 
scenes,  they  would  have  provided  the 
necessary  interval  for  fading  or  chang- 
ing from  one  record  to  another.  What 
can  I  do  to  remedy  this  bad  situation? 

A.  The  remedy  is  quite  simple.  You 
can  still  add  the  necessary  fades  to  your 
film  chemically  with  the  aid  of  Foto- 
Fade.  Foto-Fade  is  a  chemical  dye  for- 
mula that  may  be  quickly  dissolved 
in  water.  Fades  are  produced  by  slowly 
immersing  one  end  of  film  in  solution, 
then  slowly  withdrawing  it.  Result  is 
extreme  end  which  remained  in  solu- 
tion longest,  receives  heaviest  amount 
of  dye  while  rest  of  the  area  is  dyed 
proportionately. 

In  your  particular  case,  your  scenes 
may  not  be  long  enough  to  permit  add- 
ing a  fade  of  the  length  desired  to  pro- 
vide the  required  interval  for  the  rec- 
ord changeover.  Should  this  be  the  case, 
simply  add  on  a  short  length  of  raw 
stock  leader  strip  to  the  end  of  film  to 
be  faded.  With  the  fade  completed,  the 
added  strip  will  provide  the  additional 
frames  of  full  opaque  required. 

Where  you  have  ample  film  for  fades, 
you  need  not  cut  your  film  apart  to 
make  the  fades.  Simply  fold  film  dou- 
ble at  splice  between  scenes,  immerse 
it  in  the  Fotc-Fade  solution,  and  thus 
produce  fade-out  on  one  scene  and  a 
fade-in  on  the  other. 

Enlargements  (A.  De  Caprio,  Brook- 
lyn, X.  Y.) 

O.  /  would  like  to  enlarge  some  of 
the  better  frames  of  my  8mm.  film. 
I'd  like  enlargements  greater  than  the 
customary  size  —  usually  around  2"x 
2'/4".  Could  I  do  t/yis  successfully  by 
projecting  the  scene  on  my  screen  or 
wall,  then  photographing  the  projected 
image  with  a  still  camera. 

A.  Yes,  you  could  photograph  the 
scene  as  you  suggest  but  the  results 
would    be    anything    but  satisfactory. 
Best  method  is  to  enlarge  the  frame  di- 
•  Continued  on  Page  IJ4 


SPROCKET  CONTROL  is  a  vital  part  of  the  finest  i6  and 
35  mm.  cameras,  generally  used  by  professional  cameramen, 
including  newsreel  photographers  who  must  get  sharp  pictures 
of  action  as  it  happens.  In  the  Revere  8mm.  Camera,  an  exclu- 
sive reciprocating  sprocket  completely  absorbs  any  variance  of 
film  tension  caused  by  the  change  in  speed  of  the  film  as  it  winds 
on  to  the  take-up  spool.  (No  tugging  on  the 
film  gate!)  The  Revere's  sprocket  also  keeps 
the  loop  below  the  film  gate  constantly  at 
the  proper  size  to  insure  free  movement  at 
all  times.  For  sharp,  steady  8  mm  movies,  ask 
your  dealer  for  the  Revere  Camera,  with 
sprocket  film  control!  Write  for  literature! 
Revere  Camera  Company,   Dept.  6HM, 
320  E.  2 1  St  Street,  Chicago,  Illinois. 


REVERE  MODEL  88 

Complete  with  F3.5  lens  S38.50 


SIMPLE  TO  LOAD 
AND  TO  OPERATE 

As  shown  by  the  above  illustration, 
you  drop  the  reel  of  new  film  on  to 
the  take-up  spindle,  place  the  film  in 
the  gate  so  that  it  follows  the  white 
line  for  the  loop  and  run  it  around 
the  sprocket  and  on  to  the  take-up 
reel.  Then  close  the  gate  and  door  and 
you're  ready  to  shoot. 

REVERE  "88"  CAMERA 

takes  movies  of  which  you  will  be 
truly  proud.  Here  are  a  few  of  its  many 
advanced  features:  Eastman-licensed 
spool  and  spindles,  precision-built 
mechanism,  5  speeds  with  positive 
speed  governor  control,  built-in  para- 
llax-corrected view-finder,  and  re- 
ciprocating sprocket  film  control. 
Complete  with  Wollensak  F  3.5  lens, 
$38.50. 


REVERE  "80"  PROJECTOR 

For  sharp,  brilliant  movies,  ease  of  thread- 
ing and  simplicity  of  operation,  the  Rsvere 
8mm.  Projector  is  today's  outstanding  val- 
ue. It  excels  in  features  essential  to  perfect 
proiection.  smooth  performance  and  com- 
plete film  protection:  powerful  AC-DC 
motor,  double  blower  cooling  system  for 
lamp  and  film,  high-ratio  duplex  shuttle 
film  movement,  enclosed  precision  mechan- 
ism (no  belts),  fast  rewind,  radio  inter- 
ference eliminator.  Complete  with  500- 
watt  lamp.  F  1 .6  lens  and  one  300-ft.  reel, 
$75.00. 

REVERE   "85"  PROJECTOR 

has  the  same  features  as  the  "80"  plus 
duo-shield  light  diffuser.  micro-tilt,  beam 
threading  light  and  carrying  case.  Complete 
with  500-watt  lamp.  F  1.4  lens  and  one 
300-foot  reel,  $89.50. 


Revere 


REVERE  "99"  CAMERA 

To  the  mechanical  features  of  the  "88" 
have  been  added  in  this  model  a 
turret  head  for  three  lenses  and  an 
extra  optical  view  finder  for  use  with 
telephoto  lenses.  By  rotating  the  head, 
you  can  change  instantly  from  regular 
1/2"  lens  to  r  or  l'/2"  telephoto  lenses. 
Complete  with  one  V/ollensak  F  2.5 
lens,  $77.50. 


★  ★★★  ★★★★★★  ★★★★  ★★★★  ★★★★  ★★★★ 

and  l^outiel^/ 

Buy   United   States   Defense  Savings 
Bonds  and  Stamps  Now! 

★★★★★★*★  ★★★★  ★*★★  ★★★★ 


PACE  226 


HOME  MOVIES  FOR  jUNE 


CURE  FOR  PICTURES 
WITH    LIGHT  TROUBLE 


©Here's  the  prescription  for 
your  future  pictures.  Take  it 
and  you'll  never  again  wor- 
ry about  bad  pictures  due 
Glare  Light  to  "glare  light".  No  more 
Controlled  destroyed  detail,  obscured 
vision  nor  diluted  color.  For  with  MARKS 
POLARIZATION  PLATES  -  the  on/y  method  to 
light  control  without  color  absorption  —  you'll 
get  "perfect"  pictures  in  block  and  white  and 
particularly  in  color  with  any  camera,  any 
film,  anywhere.  Don't  waste  another  shot.  Go 
to  your  dealer,  or  write  for  comprehensive 
folder. 


KIN  -  O  -  LUX.  INC. 

105  W.  40  ST.  NEW  YORK  CITY 


IT  PAYS  TO  BUY  THE  BEST 
8mm.  BULK  FILM  16mm. 

NOTICE:  Super  Panchro  and  Microgran  Scored  films 

now  unobtainable  until  after  t)ie  war. 
Add  65c  to  33  ft.  price  for  daylight  loadina  of  Re- 
versal Films  which  includes  free  processing. 
SUPER  CINEPAN  REVERSAL— Unscored. 
Speed  24-16 — Lavender  Non-Halation  Base. 

DbL    8—33   ft.    $1.30;   100   ft.   $3.60;   400  ft. 

$12.95;  Sgl.  8—33  ft.  80c:  100  ft.  $2.00;  400 

ft.  $7.20;  16mm.— 100  ft.  $3.50;  400  ft.  $12.60. 
SUPER  CINEPAN  PLUS  REVERSAL— Unscored. 
Speed  64-40— Lavender  Non-Halation  Base. 

Dbl.    8—33   ft.   $1.50;   100   ft.   $4.00;   400  ft. 

$14.40;  Sgl.  8—33  ft.  $1.00;  100  ft.  $2.25  400 

ft.  $8.10;  16mm.— 100  ft.  $3.85;  400  ft.  $13.85. 
CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-2.  Unscored  Lavender  Non-Halation  Base. 

Dbl.  8—33  ft.  80c;  100  ft.  $1.85;  400  ft.  $6.50; 

Sgl.  8—33  ft.  55c:  100  ft.  $1.20;  400  ft.  $4.25; 

16mm.— 100  ft.  $1.60;  400  ft.  $6.00. 
CINE-KODAK  POSITIVE  TITLE  FILM— Unscored. 
Speed  6  in  Photoflood  Light.  Laboratory  Packed. 

Dbl.  8—33  ft.  65c;  100  ft.  $1.45;  400  ft.  $5.00; 

Sgl.  8—33  ft.  45c;  100  ft.  $1.00;  400  ft.  $3.50; 

16mm.— 100  ft.  Jl.lO;  400  ft.  $4.40. 
Clear.  Purplehaze,  Yellow.  Bed.  Amber,  Special  Blue 

— Also  DuPont  Lavender,  Light  Amber. 
CAMERA  SPOOLS  WITH   CANS— Each 

Keystone   Dble.    8  .  $  .40    Kesstone  Sgle.  8  $  .40 

Eastman    Dbl.    8  50   Univex    Sgle.    8  15 

Dbl.  8mm.  Not  E.  K.  Make.  Fits  all  cameras  35 

EXTRA  CANS.  Double  S  and  Single  8  size  05 

100  ft.  and  50  ft.  16mm.  size  _  10 

Complete  New  Reversal  and  Title  Instructions  Free 
with  Film  Orders.  Separately  50c  each.  Cash.  Check 
or  Money  Order  for  quick  service.  Deposit  $1.00  re- 
quired with  CO  D.  orders.  Special  Delivery  25c;  Air 
Mall  $1.00  Eitra.  Overpayments  refunded  or  credited. 
No  stamps,  please. 

MISCELLANEOUS 
BAIA  Precision  All-Metal  8mm.  Film  Slitter  .$2.50 
FOTOFADE  DYE  for  making  Chemical  Fades  ...  1.00 

FOTOFADE  WTPE-OFF  TAPE,  per  roll  60 

CINETINTS,  Set  6  Colors  with  Instructions   3.00 

DuPONT  VISCOSE  SPONGES,  each    35 

HOME  MOVIES.  Back  Issues,  1937-38  15 

Not  all  months  in  any  year.  1B40-41-42   30 

TITLE  DEVELOPER,  tubes,  each  make  16  oz  15 

REVERSAL  PROCESSING.  33  ft.  Dbl.  8,  65c; 

Sgl.  8,  35c:  100  ft.  Dbl.  8  (1-Plece)  $2.00; 

100   ft.    16mm  _   1.75 

TITLE  DEVELOPINO.  33  ft.  Dbl.  8.  75c;  Sgl. 

8,  40c;  100  ft.  16mm.,  $1.25;  100  ft.  Dbl.  8 

(1    Piece)  _  „   1.50 

COLOR  TRAVEL  &  ART  FILMS— 8- 16mm. 

Largest  Rental  Library  in  Indiana.  8mm. -16mm. 

Silent  or  Sound  for  Sale. 
3c  Stamp  brings  complete  lists. — Phone  Lincoln  120" 

W.    STUART    BUSSEY    FILM  LAB. 

17  E.  ST    JOSEPH  ST.        INDIANAPOLIS.  IND. 


Witktke  REEL  FELLOWS 


FRIENDLY  FRATERNITY 


OF  MOVIE  AMATEURS 


Reel  Fellows  Reel 

In  the  March  issue,  we  published  a 
letter  that  accompanied  the  member- 
ship application  of  a  new  Reel  Fellow, 
Mrs.  Carl  Zander  of  Toledo,  Ohio.  This 
letter  suggested  as  a  beneficial  activity 
of  Reel  Fellows,  the  interchange  of 
specially  exposed  film  and  the  building 
up  of  Reel  Fellows  Reels — reels  com- 
posed of  shots  received  from  other  Reel 
Fellows  in  exchange  for  shots  made  to 
their  order.  The  response  to  Mrs.  Zan- 
der's suggestion  was  tremendous.  Reel 
Fellows  and  non-Reel  Fellows  wrote 
to  her  asking  for  more  information. 
Each  and  every  letter  was  promptly  an- 
swered and  to  each  of  these  answers 
Mrs.  Zander  received  the  enthusiastic 
reply:  "Let's  get  started!" 

Mrs.  Zander's  idea  has  definitely 
touched  a  responsive  note  among  Reel 
Fellows  everywhere  and  in  order  that 
all  members  may  become  familiar  with 
the  Reel  Fellows  Reel  movement,  we 
are  printing  a  portion  of  Mrs.  Zander's 
most  recent  letter  which  states  the 
plan  fully: 

Reel  Fellows  Editor, 

Home  A^Iovies  Magazine: 

".  .  .  since  rubber,  gasoUne  and  other 
vital  commodities  are  now  on  the  ra- 
tioning list,  travel  soon  will  be  at  a 
minimum.  Movie  amateurs  will  more 
and  more  be  confined  to  shooting  with- 
in their  own  cities  and  towns.  Ultimate- 
ly, cinefans  may  tire  of  shooting  mov- 
ies in  their  own  back  yards,  but  here 
is  where  the  Reel  Fellows  Reel  comes 
in  to  sustain  our  interest  in  movie  mak- 
ing. Through  this  new  activity,  we'll 
be  able  to  travel  and  enjoy  our  vacation 
by  'remote  control.' 

"The  Reel  Fellows  Reel  is  started  by 
members  who  write  to  other  Reel  Fel- 
lows in  distant  cities  and  states.  An  ac- 
quaintance develops,  then  suggestions 
follow  as  to  what  footage  one  member 
wishes  another  to  shoot  for  him  in  ex- 
change for  equal  footage  in  his  locality. 
There  is  no  cost  involved  other  than  the 
film  used  and  this  is  offset  by  the  equal 
footage  received  in  exchange. 

"If  Smith,  in  Washington,  D.  C,  re- 
quests Jones  in  San  Francisco  to  shoot 
12  feet  of  the  Golden  Gate  bridge. 
Smith  will  shoot  12  feet  of  some  Wash- 
ington scenery  or  object  for  Jones. 
Through  correspondence,  each  will  in- 
dicate the  kind  of  footage  they  desire 
and  state  whether  it's  to  be  Kodachrome 
or  black  and  white.  The  size,  that  is 
8mm.  or  i6mm.,  will  already  be  de- 
termined before  correspondence  is  start- 


REEL  FELLOWS 

This  department  chronicles  the 
doings  of  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellows  informed  of  your  activi- 
ties through  this  column?  Write  the 
editors,  giving  details  of  your  filming 
activities,  future  filming  plans,  or 
interesting  experiences  encountered 
through  your  affiliation  with  this 
fast  growing  organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideration 
will  be  given  to  their  publication 
when  space  permits. 


ed.  When  Smith  and  Jones  have  thus 
received  the  shots  they  want  through 
this  mutual  exchange  plan,  they  turn  to 
other  Reel  Fellow  members  in  other 
states  for  additional  footage,  thus  build- 
ing a  complete  reel  of  assorted,  but  not 
un-related  shots,  for  good  continuity 
certainly  can  be  worked  into  a  reel  of 
this  kind  by  careful  planning.  More- 
over, by  obtaining  shots  of  the  various 
Reel  Fellows  who  do  shoot  the  'request' 
footage,  added  interest  is  injected  into 
the  reel  and  a  firmer  friendship  and  ac- 
quaintance is  built  up  with  other  Reel 
Fellows. 

"The  first  few  letters  we  received  in- 
dicated some  skepticism.  But  after  these 
same  skeptics  started  their  reels,  many 
wrote  again  stating  the  footage  re- 
ceived excelled  in  quality  that  of  their 
own!  I  don't  think  any  Reel  Fellow  has 
to  worry  about  the  quality  of  the  film 
he'll  receive  in  return.  Movie  makers 
seem  to  put  extra  effort  into  any  film- 
ing they  do  for  another.  All  that  is  re- 
quired is  sharply  focused,  well-exposed 
shots.  No  trick  effects  are  necessary. 

"Reel  Fellows  members  who  read  this 
letter  and  who  are  interested  in  travel- 
ing by  'remote  control'  this  summer, 
getting  fresh  movie  material  for  their 
personal  film  libraries,  may  contact  the 
writer  for  an  exchange  of  Reel  Fallows' 
names — names  of  members  who  have 
indicated  a  desire  to  take  part  in  this 
Reel  Fellows  Reel  project.  No  strings 
are  attached,  no  money  involved. 

"If,  every  Reel  Fellow  will  go  to  bat 
for  their  respective  states,  they  needn't 
worr\'  about  enforced  curtailment  of 
travel  keeping  their  cameras  idle. 
They'll  find  Reel  Fellows  in  every  other 
state  ready  to  join  in  the  movement." 

— Mrs.  Carl  Zander, 
616  Stebhins  St., 
Toledo,  Ohio 


HOME  MOVIES  FOR  JUNE 


REms... 


PACE  227 


o/  cAmateur  ^ilm^ 


B  y 


S       C        H        0        E  N 


VENERALLY  speaking,  there's 
quite  an  improvement  in  the  average 
home  movie  produced  today  compared 
to  films  of  one  or  two  years  ago.  This 
proves  that  amateurs  not  only  study 
their  own  films  and  those  of  others,  but 
they're  profiting  by  what  they  read  on 
the  subject  of  their  hobby. 

To  this  end,  Home  Movies  is  dedi- 
cated in  helping  the  amateur  better  his 
movie  making  by  pointing  out  errors 
or  better  methods  for  photographing, 
titling  and  editing  in  some  of  the  pic- 
tures submitted  to  the  editors  for  re- 
view. 

Of  the  two  films  reviewed  here  this 
month  one  stands  out  as  a  fine  example 
of  Christmas  continuity,  and  the  other 
for  its  variety  idea. 

^^This  Man's  Family"  by  Lorin  and  Pa- 
tricia Smith  of  Long  Beach,  Calif.,  runs 
200  feet  in  black  and  white  8mm. 
film.  It  differs  from  the  ordinary  Christ- 
mas record  film  in  that  it  follows  a 
light  but  definite  continuity.  Where 
others  have  simply  recorded  Christmas 
in  a  series  of  catch  as  catch  can  shots 
without  any  advance  planning,  the 
Smiths  prepared  their  little  story  in 
advance,  and  carefully  followed  the 
shooting  script  to  the  final  fadeout. 

The  opening  scene  shows  the  old 
folks — Dad  and  Mother — putting  the 
final  touches  on  trimming  of  the 
Christmas  tree.  Lights  are  extinguished 
and  they  retire  for  the  night,  the  cam- 
era following  them  as  they  leave  the 
room.  A  pleasing  touch  was  that  of 
Mother  extinguishing  various  room 
lights  in  her  exit,  which  had  the  effect 
of  gradually  fading  out  the  scene. 

On  the  following  morning,  the  ex- 
pected guests  arrive — married  sons  and 
daughters  and  their  kiddies.  Entrance 
of  each  couple  and  their  children  was 
filmed  separately.  After  the  usual  ex- 
change of  greetings  and  embraces,  the 
guests  proceed  to  a  bedroom  where  they 
dispose  of  wraps  and  gifts.  Another 
homey  touch  was  that  of  having  one 
daughter  slyly  snitch  a  piece  of  candy 
from  a  dish  as  she  passed  the  dining 
table.  We've  all  done  that! 

One  of  the  sons  is  a  cinebug  and  he 
trails  through  the  house  bringing  cam- 
era, tripod  and  a  host  of  lighting  equip- 
ment in  which  Dad,  on  an  inquisitive 
tour,    becomes    entangled    and  falls. 


bringing  equipment  down  on  top  of 
himself.  Balance  of  the  picture  consists 
of  scenes  of  the  family  gathered  at  din- 
ner, then  unwrapping  gifts  beside  the 
tree.  Each  incident  was  treated  in  con- 
tinuity with  proper  long,  medium  and 
closeup  shots  wherever  necessary. 

While  editing  was  generally  good, 
occasionally  there  was  a  bad  spot  which 
easily  may  be  corrected,  such  as  where 
Mother,  in  the  kitchen,  hearing  the 
doorbell,  calls  to  Dad  in  the  parlor  to 
answer  the  door.  This  is  indicated  by  a 
spoken  title,  followed  by  a  cut  back  to 
Mother  as  she  completes  the  speech. 
Then  a  cut  to  Dad  follows.  He  remains 
seated  for  a  moment,  evidently  not 
hearing  Mother's  call.  Then  he  sudden- 
ly arises  and  exits,  ostensibly  to  answer 
the  door. 

Obviously,  this  filmer  meant  to  cut 
this  last  scene  at  the  point  where  Dad 
rises  from  his  chair.  Better  still  would 
have  been  to  have  Dad  look  up,  indi- 
cating he  heard  Mother's  request,  then 
rise  promptly  and  exit.  The  cut  back 
to  mother  after  the  title  was  unneces- 
sary. 

^^Double  Order  of  Fun"  by  George 
A.  Valentine  of  Glenbrook,  Conn.,  is  a 
novelty  reel  of  8  mm.  film  running  but 
150  feet  in  length.  Its  content  is  several 
short  subjects  designed  especially  for 
entertainment  value.  The  first  subject 
is  titled  "Zombie"  and  concerns  a  man 
who  has  just  read  a  recipe  for  mixing  a 
potent  drink  called  a  Zombie.  The  drink 
is  mixed  and  consumed  and  the  result  is 
pictured  in  trick  photography — mostly 
the  disappearance  and  reappearance  of 
objects  in  the  room  while  the  inebriate 
is  under  influence  of  the  potent  drink. 

Continuity  of  this  subject  was  not 
very  tight  and  could  be  improved  in  its 
present  form  by  closer  cutting  of 
scenes. 

Second  subject  is  a  newsreel  composed 
of  several  comic  items  all  of  which  dem- 
onstrated this  filmer's  flair  for  trick  ef- 
fects in  cinematography.  The  finale  and 
highlight  of  this  film  is  a  sunset,  filmed 
in  Kodachrome  at  half  speed,  or  perhaps 
in  stop  motion,  in  which  the  full  cycle 
of  a  colorful  svmset  is  completed  with- 
in a  few  minutes. 

Photography,  titling  and  editing  in- 
dicate close  study  of  cinematic  tech- 
niques. 


You're  Right 
ON   THE  SPOT 

with  a 

Telephoto  lens 
on  your  Movie  Camera 

You're  right  down  at  the  finish-line  to 
see  your  long  shot  nose  out  the  favorite 
—you're  out  on  the  field  watching  base- 
ball history  in  the  making — you're  there, 
within  close  range  of  all  the  excitement 
when  you  use  a  TELETAR  TELE- 
PHOTO  LENS  on  your  movie  camera. 

Get  a  new  thrill  out  of  home-movies — 
get  clearer,  more  brilliant  shots  in  both 
black-and-white  and  color  with  this  fine 
lens. 

Available  in  focusing  mount  to  fit  8mm. 
and  1 6mm.  cameras  such  as  Filmo,  Cine- 
Kodak,  Keystone,  Bolex,  Victor,  Revere, 
Focal  lengths  from  i  to  3  inches. 

For  8mm.  Cameras 

I   inch  F  3. J-  -$21.00 

I  Yz   inch  F  3. J  $28.00 

For  16mm.  Cameras 

z   inch  F  3.5    $32.50 

3   inch  F  3.5   ....$42. JO 

Filters  Available — $1.75  to  $4.00 

Please  specify  the  type  of  mount 
when  ordering 

Send  for  Booklet 

Adapters  for  various  types  of 
cameras  $3.00  to  $7.00 


32nd  St.,  near  6th  Ave.,  N.  Y. 

World's   Largest  Camera  Store 
Built  on  Square  Dealing 

Established  1S9S 


PACE  228 


HOME  MOVIES  FOR  JUNE 


'Si:- 


"Harriett"  by  Harvey 
Croze  of  Detroit,  Michi- 
gan. This  winsome  pose 
has  hung  in  fifteen  inter- 
national salons,  was  one 
of  the  twelve  winners  in 
the  21st  Annual  Competi- 
tion of  American  Photog- 
raphy, and  is  part  of  the 
1941  traveling  show  of 
the  Photographic  Society 
of  America.  Taken  with  a 
Wollensak  Series  2  Vel 
ostigmat  /4.5.  Enlarged 
with  a  Wollensak  3'/2- 
inih  cnl  irking  Vclostic 
nn  f  1  5  Mr  (  ro/i 
wrj[(.s  I  h  i\L  UM  1 
Willinsik  Unsis  fir 
Ml  II  vi  irs  I  rn  mmi. n  ' 
(Ikiii  lii.,hl\  Imi|  r< 
)  ir  phi)ioi,r  iphv  with  i 
W  ulUii  jk 


V 


Si 


HOME  MOVIES 

PiiblishH  in  llollvnooil 
JIWE  im 


•  Careless  campers,  too,  are  a  potential  menace  to  our  forests.  These  exjjeri- 
enced  campers  will  thoroughly  extinguish  their  fire  before  departing. 


FOREST  DEFEiSE  (il 


I UNDREDS  of  amateur  movie 
makers  responded  enthusiastically  to 
the  announcement  last  month  of  Home 
Movies'  sponsored  campaign  for  the 
production  of  forestry  conservation 
films.  These  same  filmers  and  hundreds 
more  will  be  delighted  to  hear  that  the 
Forest  Department  is  offering  a  spe- 
cial plaque  as  an  award  for  the  best 
film  produced  during  this  campaign 
and  submitted  in  Home  Movies'  1942 
Annual  Amateur  Contest. 

You'll  remember,  too,  we  promised 
a  model  scenario  by  one  of  Hollywood's 
professional  screenwriters.  It's  all  ready, 
waiting  for  you  to  start  the  cameras 
turning.  There  will  probably  be  another 
next  month.  But  time's  a  wastin'!  Sum- 
mer's here!  If  you  are  going  to  com- 
plete your  film  in  time  so  it  can  be  ef- 
fectually screened  as  well  as  ready  for 
the  contest,  you  must  get  busy  right 
away. 

The  scenario  that  follows  has  been 
kept  as  simple  as  possible  to  enable  the 
greatest  number  of  amateurs  to  under- 
take its  production.  Admittedly  the 
more  serious  and  experienced  filmers  will 
recognize  opportunities  to  enlarge  upon 
the  script,  adding  their  own  personal 
treatment  touches  here  and  there.  Others 
may  simply  get  the  germ  of  an  idea  from 
this  script,  then  knock  out  one  of  their 
own.  We  expect  it.  They  do  it  in  Hol- 
lywood, too. 

The  author  of  this  script  tried  to 


in  full  ^wln^  . 


Special  Plaque  to  be  awarded 
for     best     fire     prevention  film 


keep  in  mind  that  it  should  be  work- 
abl-;  to  amateurs  in  every  part  of  the 
United  States.  However,  there  are  some 
shots  called  for  in  the  script,  like  the 
ship  scenes,  that  may  be  out  of  reach 
for  some  amateurs.  In  such  cases,  two 
alternatives  present  themselves:  filming 
the  shot  from  a  photograph  by  using 
a  titler  or  titler  lens,  or  by  requesting 
a  brother  cinebug  in  a  distant  state  to 
make  the  shot  for  you.  You  can  write 
to  the  secretary  of  a  distant  cine  club 
or  request  publication  of  a  notice  in  the 
"Swappers"  column  of  Home  Movies. 

There  may  be  difficulties  encountered, 
too,  of  obtaining  some  shots  because  of 
m.ilitary  restrictions.  However,  in  most 
cases,  if  you  will  approach  the  proper 
authorities  and  explain  your  need  for 
the  particular  scenes,  you'll  probbaly 
not  only  receive  an  o.k.  to  shoot  them 
but  some  assistance  in  doing  so,  once 
its  understood  scenes  are  for  a  worthy 
defense  cause. 


W 


Last  month,  it  was  suggested  that 
those  interested  in  producing  forest 
protection  films  communicate  with  the 
Chief  of  Forest  Service  in  their  respec- 
tive areas.  Herewith  we  present  the 
names  and  addresses  of  these  officials 
who  have  been  notified  of  this  filming 
project  and  are  prepared  to  render  in- 
formation assistance  to  all  amateurs 
who  may  request  it. 

1.  Acting  Chief,  U.  S.  Forest  Service, 
South  Building,  Independence  Avenue 
at  1 2th  Street,  Washington,  D.  C. 
Attention:  Mr.  Dana  Parkinson. 

2.  Regional  Forester,  U.  S.  Forest 
Service,  Federal  Building,  Missoula, 
Montana.  Attention:  Mr.  Meyer  H. 
Wolff. 

3.  Regional  Forester,  U.  S.  Forest 
Service,  Post  Office  Bldg.,  Denver,  Col- 
orado. Attention:  Mr.  Fred  R.  Johnson. 

•  Continued  on  Page  252 


229 


MAJOR 


HOME  MOVIES  FOR  JUNE 


•  Scene  and  title  reproductions  from 
"A  Day  On  the  Western  Front," 
Movie  of  the  Month  filmed  by  Ernest 
Eroddy. 


5 


TO  WORK... 


Ernest  Eroddy  did  and  produced 
the    Movie    of    the    Month    .    .  . 


low  that  tire  and  gasoline  ra- 
tioning makes  it  more  necessary  than 
ever  to  plot  new  courses  in  our  movie 
making  activities,  amateurs  will  find  in- 
teresting suggestions  in  the  June  Movie 
of  the  Month,  a  200-foot  8mm.  Koda- 
chrome  picture  titled  "A  Day  On  the 
Western  Front,"  produced  by  Ernest 
Eroddy,  Denver,  Colorado. 

This  picture  is  a  movie  record  of  one 
man's  place  of  employment,  his  supe- 
riors and  fellow  employees.  No  hack- 
neyed documentary  of  static  shots,  it 
boasts  a  clever  continuity  in  which  the 


factory  is  likened  to  a  mighty  fort  and 
the  men  and  women  who  work  there  to 
soldiers  and  officers. 

Eroddy  is  employed  by  Western  Elec- 
tric Company's  branch  at  Denver.  The 
picture  treats  a  day  in  the  lives  of  the 
men  and  women  who  work  in  this  west- 
ern branch  which  explains  its  title. 
Ever}'  man  and  woman  on  the  payroll 
at  the  time  appears  in  some  scene  of  the 
picture.  Eroddy  wanted  a  movie  record 
of  his  many  friends  and  fellow  em- 
ployees and  cleverly  arranged  for  each 
to  appear  in  a  scene  depicting  his  cus- 


tomary activities.  They  were  not  lined 
up  in  groups  in  front  of  the  camera, 
but  filmed  in  informal  scenes  at  their 
desks,  workbench,  forge  or  indulging 
sports  during  lunch  hour. 

Titles  were  frequent  and  necessarily 
so  to  introduce  those  appearing  in  the 
various  scenes  and  they  carried  the  mil- 
itary theme  in  wording  and  background 
arrangement.  The  titles  were  filmed 
on  a  miniature  stage  which  consisted 
of  a  frame  with  two  doors  which  swung 
inward.  This  may  be  seen  in  the  top 
picture,  second  row,  of  accompanying 
illustrations.  On  the  miniature  stage 
was  a  company  of  miniature  soldiers  ar- 
ranged in  marching  formation.  The  ti- 
tle, composed  of  block  letters  applied 
over  a  panel  of  glass,  appeared  in  front 
of  them.  Each  title  was  concluded  with 
the  closing  of  the  doors. 

The  picture  begins  with  a  series  of 
shots  setting  the  locale  including  a  long 
shot  of  the  Western  Electric  Company's 
plant.  This  is  followed  by  shots  and  se- 
quences showing  each  of  the  executives 
in  typical  or  characteristic  manner.  One 
of  the  early  sub-titles  states  "General 
Argabrite  in  Command"  and  preceded  a 
shot  of  the  general  manager  at  his  desk. 
Seems  this  man  is  a  typical  westerner 
who  "rolls  his  own"  and  has  a  penchant 
for  starting  small  fires  by  inadvertently 
tossing  lighted  matches  into  his  waste- 
basket  after  lighting  a  cigarette.  At  any 
rate,  Eroddy  pictures  "General"  Arga- 
brite in  just  such  incident.  And  this  is 
typical  of  Eroddy 's  treatment  of  the 
whole  picture.  No  scene  is  without  its 
humorous  touch  which  will  be  noted 
in  descriptions  of  other  scenes  to  follow. 

The  entire  executive  and  office  staffs 
are  pictured  first.  Titles  introducing  the 
executives  refer  to  them  as  captains, 
majors,  corporals,  etc.  The  day's  activi- 
ties are  pictured  in  order  and  each  event 
referred  to  in  military  terms.  "Troops 
move  to  the  front"  precedes  shots  show- 
ing employees  arriving  by  street  car, 
automobile  and  motorcycle.  "The  Roll 
Call"  introduces  a  number  of  employees 
punching  the  time  clock.  "Mechanical 
Units  Go  Into  Action"  opens  a  sequence 
of  close-ups  showing  the  various  office 
appliances  going  into  action  —  tvpe- 
•  Continued  on  Page  254 


230 


HOME  MOVIES  FOR  JUNE 


PAGE  231 


cA  g,uide  to  filming- 


I 


YELLOWSTOIE  PARR 


WAS  standing  near  Old  Faith- 
ful geyser  one  evening  last  summer 
waiting  for  it  to  erupt  when  another 
movie  amateur,  an  elderly  gentleman, 
attracted  by  my  camera  and  tripod, 
walked  over  and  opened  conversation. 

"I'm  afraid  you'll  not  get  a  good  shot 
of  the  geyser  anymore  today,"  he  said. 
"It's  too  dark." 

It  was  quite  late  and  the  sun  had  al- 
most set,  but  I  explained  that  I  already 
had  many  shots  of  Old  Faithful  under 
various  light  conditions  and  was  now 
attempting  a  silhouette  of  it  against  the 
setting  sun. 

"H-m-m-.  Might  work  at  that,"  he 
said  with  an  expression  of  interest,  and 
he  set  about  placing  his  camera  and 
tripod  alongside  mine  for  a  similar  shot. 
After  the  eruption  and  the  shots  were 
made,  we  fell  into  a  discussion  of  film- 
ing the  various  points  of  interest  in 
Yellowstone  Park.  Some  three  hours  la- 
ter, I  was  seated  at  a  table  in  Hamil- 
ton's General  Store  still  discussing  ex- 
posure, filters,  film,  etc.,  with  my  new 
found  acquaintance. 

I  thought  nothing  more  of  the  inci- 
dent until  one  morning  about  a  month 
later,  I  received  a  letter  from  my  friend 
giving  a  glowing  account  of  the  fine 
movies  he  had  secured  of  Yellowstone 
and  thanking  me  graciously  for  the  in- 
formation I  had  contributed  that  made 
his  good  movies  possible. 

I'm  sure  there  are  many  others  like 
this  old  gentleman  who  approach  film- 
ing in  National  Parks  with  some  uncer- 
tainty. There  is  so  much  to  see  and  so 
many  vantage  points  from  which  to  see 
it,  one  easily  becomes  confused.  Scenes 
are  filmed  in  a  hurry  when  with  a  lit- 
tle patience  and  study  of  composition 


•  Old  Faithful,  always  a  climactic 
shot  In  movies  filmed  in  Yellowstone 
National  Park.  Best  composition  re- 
sults when  sunlight  strikes  geyser  at 
side  as  in  this  shot.  Clouds,  of  course, 
are  a  matter  of  luck. 


under  light  conditions  existing  at  va- 
rious times  of  the  day,  more  captivat- 
ing shots  may  be  secured.  These  facts 
only  amplify  what  so  many  movie  am- 
ateurs have  already  said  many,  many 
times:  "There  should  be  some  depend- 
able guide  for  the  filmer  who  wants  to 
shoot  movies  in  Yellowstone  and  all 
other  National  Parks — a  guide  that  will 


assist  him  in  shooting  from  the  best 
vantage  point  for  composition,  light- 
ing, etc.;  that  will  indicate  best  time 
of  day  to  shoot;  best  exposures  to  fol- 
low for  Kodachrome  or  black  and  white 
film. 

I  learned  all  of  these  things  the  hard 
way — through  trial  and  error  shooting. 

•  Continued  on  Page  24S 


Courtesy  Union  Pacific 


PACE  232 


HOME  MOVIES  FOR  )UNE 


iVItat  beg^inner^  should 
know  about  FILTERS 


B  y 


STANLEY 


A    N     D  R 


W 


I 


[N  spite  of  increasingly  wider 
use  of  color  film,  there  is  still  much 
cinefilming  done  with  black  and  white. 
Indeed  filmers  are  legion  who  prefer 
panchromatic  over  color  film  and  the 
reason  for  this  choice  is  the  dramatic 
results  obtainable  with  black  and  white 
film  when  filters  are  employed. 

Because  of  the  tremendous  appeal  of 
color  and  the  fact  that  many  who  have 
taken  up  the  hobby  of  home  movies 
during  the  past  two  years  started  film- 


ing with  Kodachrome,  most  movie  ama- 
teur beginners  have  yet  to  experience 
the  fine  pictorial  results  to  be  obtained 
in  filtered  cinematography. 

Invariably  one's  interest  in  filters  is 
aroused  upon  witnessing  the  screening 
of  some  outdoor  film  in  which  fleecy 
white  clouds  have  been  made  to  stand 
out  vividly  against  a  dark  sky.  But  fil- 
ters can  do  more  than  this.  They  gen- 
erally improve  all  black  and  white  out- 
door photography. 


£.  J.  thenmcier 


In  order  to  understand  the  function 
of  filters,  it  is  necessary  first  to  under- 
stand the  characteristics  of  each  type 
of  black  and  white  film.  This  was  ex- 
plained at  length  in  the  third  article 
of  this  series  appearing  in  the  March 
issue  and  if  convenient,  it  should  be 
reviewed  again  at  this  time. 

For  a  long  time  there  was  but  one 
type  of  film  available  for  motion  pic- 
tures. This  was  orthochromatic,  insen- 
sitive or  "blind"  to  all  but  a  few  colors 
in  the  blue-violet  region  of  the  spec- 
trum. Later  development  resulted  in 
orthochromatic  materials  of  higher 
sensitivity.  About  1900,  it  was  discov- 
ered that  certain  dyes,  when  added  to 
film  emulsions  during  preparation,  al- 
tered their  sensitivity.  Thus  was  de- 
veloped the  emulsions  we  know  now 
as  panchromatic  and  whose  sensitivity 
covers  about  the  same  range  as  the  hu- 
man eye.  In  other  words,  panchromatic 
film  "sees"  natural  colors  in  approxi- 
mately the  same  tonal  range  as  does  the 
eye.  Through  the  addition  of  dyes  in  the 
emulsion  formula,  panchromatic  emul- 
sions are  made  to  register  with  marked 
tonal  fidelity,  colors  of  orange  and  red 
— at  the  other  end  of  the  spectrum — 
not  "visible"  to  orthochromatic  film. 

Thus  by  producing  a  film  which  is 
sensitive  to  colors,  it  became  possible 
to  intensify  or  correct  certain  color 
values  by  filtering  the  light  reaching 
the  film.  Science  tells  us  that  white 
light  actually  is  formed  by  a  mixture 
of  colored  light.  TTiis  being  true,  it  fol 
lows  that  colored  light  may  be  formed 
by  breaking  the  white  light  into  its 
component  parts. 

Thus  if  a  green  filter  is  placed  in 
the  path  of  a  ray  of  white  light,  only 
green  light  passes  through  the  filter 
and  the  red  and  violet-blue  colors  are 
absorbed.  If  a  red  filter  is  used,  only  red 
light  is  transmitted  and  the  remaining 
colors  in  the  spectrum  are  absorbed  in 
an  action  that  is  better  understood  as 
selective  light  transmission. 

It  becomes  understandable,  then, 
why  a  red  filter  placed  over  the  lens  of 
a  camera  loaded  with  panchromatic  film 
will  accent  white  clouds  in  a  clear  blue 
sky.  The  red  light  in  the  clouds — and 
•  Continued  on  Page  244 


•  This  is  the  kind  of  beauty  filters 
impart  to  movie  scenes.  Here  a  red 
filter  was  employed  with  panchro- 
matic film  to  gain  the  effect  of  moon- 
light. 


•  Above  shots  in  which  cutouts  are  used  for  scenery,  were  made  with  trick  stage  described  in  March  issue. 


ou  can 


film  tk 


W, 


E  must  all  have  suffered  those 
exasperating  moments  when  we  have 
sighed  for  the  resources  of  the  modem 
movie  studio.  Perhaps  the  shot  of  the 
smugglers'  cave  in  our  vacation  film  has 
gone  wrong  and  cannot  be  replaced;  or 
we  may  long  to  indulge  in  flights  of 
fancy  and  build  wonderful  sets  of  the 
Giant's  Castle  or  the  Fairy  Queen's  Pal- 
ace. To  those  who  have  followed  previ- 
ous articles  in  this  series  and  who  have 
taken  the  trouble  to  make  up  the  spe- 
cial gadgets  I  have  described,  such  am- 
bitions are  not  entirely  beyond  reach. 
By  the  use  of  foreground  models,  card- 
board cutouts  and  model  sets  combined 
with  normal  human  actors,  an  almost 
infinite  range  of  professional-like  spe- 
cial effects  may  be  obtained. 

The  simplest  use  of  the  foreground 
model  or  cutout  is  shown  in  Fig.  i.  The 
jagged  outline  of  the  "cave"  is  cut  from 
cardboard  and  set  up  on  Stage  C.  (See 
Fig.  I,  Page  102,  March  issue).  Un- 
wanted light  is  kept  out  by  draping 
the  whole  frame  in  a  black  cloth.  The 
frame  is  set  up  on  the  scene,  a  low  ele- 
vation being  chosen  to  cut  down  the 
foreground  to  a  minimum.  The  scene 
and  the  actors  can  be  examined  through 
the  "sight"  and  matters  so  arranged 


TRICK  EFFECTS... 


that  the  actors  may  move  right  up  to 
the  camera  without  having  their  heads 
"cut  off"  by  the  top  of  the  mask.  If 
the  apparatus  can  be  set  up  alongside  a 
wall  or  screen  as  well,  so  that  when  the 
actors  approach  to  within  about  fifteen 
feet  from  the  camera,  they  pass  into 
shadow,  the  effect  on  the  screen  will  be 
that  they  appear  to  run  inside  the  cave. 

The  same  principle  is  elaborated  in 
Fig.  2.  A  silhouette  mask  of  "reeds" 
and  "tropical"  undergrowth  is  cut  out 
of  cardboard  and  set  up  on  Stage  B, 
unwanted  light  being  excluded  as  be- 
fore   with    a  black 
cloth.   "Palm  Tree" 
cutouts  are  added  to 
Stage  C.   These  are  — *— - 
allowed  to  receive  a 
slight  degree  of  illu- 
mination;   there  is, 
in     consequence,  a 
difference    of  tone 

•  Trick  stage  was  also 
used  in  filming  this 
aerial  shot  in  which  a 
toy  plane  and  cutouts 
were  used  to  simulate 
a  squadron  attack. 


between  the  various  cutouts,  giving  an 
appearance  of  depth  to  the  scene.  A  low 
camera  position  gives  a  sky  background 
and  the  "sea"  is  simply  a  roll  of  brown 
wrapping  paper  stretched  horizontally 
across  the  "set"  some  fifteen  feet  from 
the  camera.  The  action  takes  place  in 
front  of  it  and  care  must  be  taken  that 
no  shadow  falls  on  the  brown  paper  in 
consequence.  This  would  ruin  the  ef- 
fect. 

To  convert  the  South  Sea  Island  scene 
into  date  palms  on  the  fringe  of  the 
•  C.nnliuiiCil  nil  Pa;^c  250 


233 


Fig.  ] 


Fig.  2 


FIBER  fO\TROL/, 


or  Smoother 


^^SpeciaV^  lap  dii^olve^ 


T. 


HOSE  who  were  fortunate  to 
see  Herman  Bartel's  1941  prize  wmning 
film,  "Singing  Shadows"  will  remember 
it  for  its  remarkably  smooth  lap-dis- 
solves. The  picture  was  filmed  with  a 
Cine  Special  and,  as  many  know,  not 
every  Cine  Special  operator  succeeds  in 
executing  smooth,  professional -like  lap 
dissolves  with  this  camera  in  spite  of 
the  excellent  adjustable  shutter  built 
into  it  for  this  purpose. 

The  difficulty-  encountered  by  many 
is  in  developing  the  required  sense  of 
touch  necessary'  to  bring  the  fading  le- 
ver slowly  to  a  close  at  the  end  of  the 
fade.  The  tisual  result  is  a  lap  dissolve 
that  ends  with  the  first  fade  termi- 
nating too  abruptly. 

Bartel's  initial  fades  and  dissolves  with 
this  camera  were  like  this,  too.  And  as 
"Singing  Shadows"  required  a  great 
many  smooth  lap-dissolves  to  accent 
mood  of  the  picture,  he  set  about  to 
create  a  gadget  that  would  control 
the  camera  fading  lever  smoother  and 
better  than  it  could  be  done  by  hand. 
Of  course,  even  with  this  gadget,  the 
fades  are  manually  controlled  by  hand 
crank,  but  the  manual  action  is  "geared 
down"  and  thus  any  tendency  toward 
jerky  <x  inconsistent  finger  control  of 
the  fading  lever  is  absorbed  or  "damp- 
ened." 

Barrel  calls  his  gadget  a  fader  con- 
trol. The  complete  umt  detached  from 
the  camera  is  shown  in  Fig.  5.  Figs  i 


and  2  show  two  views  of  the  camera 
with  the  fader  contrcJ  attached.  To 
make  a  fade  with  this  device,  the  hand 
crank  shown  at  rear  of  camera  is  mere- 
ly turned,  while  camera  is  running,  un- 
til the  shutter  is  opened  or  closed,  as  re- 
quired. 

There's  nothing  c<nnphcated  about 
its  construction.  Bartel  contends  any 
amateur,  mechanically  inclined,  could 
duphcate  it.  Outside  of  the  gears,  which 
are  standard  Boston  gears,  the  rest  <rf 
materials  required  are  a  few  small  nuts 
and  bolts,  a  narrow  strip  of  flat  alumi- 
num to  form  the  arm,  a  piece  of  bake- 
hte,  a  circular  metal  disc,  short  metal 
shaft,  and  a  handle. 

Tte  secret  for  successful  operati<Mi 
of  the  fader  control  lies  primarily  in 
the  metal  arm  which  is  motivated  by 
the  main  gear.  Bartel  found  aluminum 
best  for  this  because  of  the  peculiar 
£exilnhry  of  this  metal  compared  to 
any  other.  Since  the  fading  lever  of  the 
Cine  ^>ecial  moves  straight  up  and 
down  and  in  a  shght  arc,  it  is  important 
that  the  arm  of  the  fader  control  have 
sufficient  resihency  to  compensate  for 
the  very  slight  difference  in  dimension 


•  Pictured  at  right  is  amateur-desiigned 
fading  control  for  the  Eastman  Gne 
special,  a  comptact  unit  easily  con- 
structed that  insures  smoother  lap- 
dissolves.  Photos  at  top  show  gadget 
mounted  on  camera. 


that  takes  {^ce  as  the  lerer  moves  from 
one  end  of  the  arc  to  the  other.  There 
must  be  sufficient  flexibihty  in  the  arm 
so  too  much  pressure  will  not  be  exerted 
cn  the  fading  lever  at  any  one  point. 
This  will  be  more  understandaUe,  of 
course,  to  those  familiar  widi  this 
cannera. 

It  can  be  seen  that  the  fader  control 
attaches  to  the  camera  by  the  old  fa- 
miliar expedient  of  anchoring  it  between 
camera  base  and  top  of  tripod  head.  By 
drilling  a  hcJe  throng  the  bakdite  base 
to  accommodate  tripod  screw,  the  unit 
may  be  locked  firmly  in  place.  Extend- 
ing from  the  base  is  an  upright  piece, 
also  of  hakdite,  to  which  is  anchcxed 
most  of  the  mechanism — the  circular 
(£sc,  the  gears,  and  etc.  As  can  be  seen 
from  photos,  the  heart  of  this  gadget  b 
a  simple  worm  gear  combination  oper- 
ated by  the  hand  crank.  The  hakdite 
piece  attached  to  the  arm  extending  to 
the  fader  lever  is  merdy  for  dress.  Rg. 
2  shows  how  the  aim  is  attached  to  the 
fading  lever  of  camera  and,  according 

•  CcmtimmeJ  «m  fjgr  24k 


i 


234 


HOME  MOVIES  FOR  JUNE 


PACE  235 


HOW      iUm  ultra 

If  you  are  jaded  with  ordinary  movie  making  subjects, 
turn  to  the  filming  of  Httle  things  at  close  range. 
New  thrills  are  in  store  for  the  movie  amateur  who 
films  flowers,  insects,  small  animals  and  tiny  models 
in  vivid,  frame-filling  closeups.  Ultra  closeups  may 
be  photographed  with  almost  any  cine  camera  fitted 
with  proper  attachments.  The  technique  of  filming 
such  closeup  shots  involves  three  factors  which,  if 


clo^eup^  .  .  . 

aflforded  by  your  camera  and  equipment,  insure 
certain  success  almost  from  the  start.  First  is 
necessity  of  obtaining  sharp  focus  at  a  distance  less 
than  permitted  by  regular  camera  lens.  Next,  there 
must  be  a  means  for  determining  exact  camera  field. 
And,  finally,  there  must  be  a  means  for  checking 
lens  focus.  Illustrated  below  are  four  methods  for 
photographing  small  objects  at  close  range. 


HOLDfR  ^ 

SmPS  Oi'£R  LENS 


AUX/l/ARY  l£A^S 


LENS 


ADHESIVE  TAPE 


An  auxiliary  lens,  placed  before  camera  lens  as  in  title  making, 
shortens  focus  for  small  object  filming,  too.  Size  of  field  depends  upon 
focusing  distance  of  auxiliary  lens.  One  can  film  as  close  as  3"  to 
an  object  using  a  13  diopter  lens  which  covers  a  field  of 
Size  of  field  depends  upon  size  of  object.  Sel«(ct  auxiliary  lens  ac- 
cordingly. Mount  auxiliary  before  lens,  using  either  of  two  methods 
shown — simple  wire  clip,  or  lens  holder  made  of  laminated  cardboard 
which  slips  over  camera  lens.  Auxiliary  lenses  are  obtainable  from 
optical  houses.  Lenses  from  inexpensive  dime-store  reading  glasses 
also  may  be  used.  They  come  labeled  showing  focusing  power  or 
diopter  size.  Camera  should  then  be  mounted  on  simple  frame  fittted 
with  wire  field-area  guide. 


Shimming  out  the  lens  will  enable  camera  to  focus  closer  than  limi- 
tations indicated  on  focusing  ring.  By  moving  lens  out,  close  objects 
are  brought  into  sharp  focus.  Shims  are  thin  rings  cut  from  metal 
of  various  thicknesses.  Lens  is  unscrewed  from  camera,  the  shim 
placed  over  the  threads,  and  the  lens  again  mounted  on  camera.  Shim 
holds  lens  firmly  extended  to  prescribed  distance.  Lens  shims  may  be 
purchased  or  made  by  the  filmer.  To  determine  thickness  of  shim  use 
following  formula. 

D  X  F 

j5  p  equals  S 

D:  distance  from  lens;  F:  focal  length  of  lens;  S:  Shim  thickness. 
This  applies  to  regular  camera  lenses  only — t"  i6mm.  and  54"  8mm. 


CAf^ERA 


LEA/S 


Extension  tubes  function  same  as  shims,  are  actually  "giant"  shims 
by  which  camera  lens  is  brought  closer  to  object  to  be  filmed  and 
held  firmly  in  place.  Ready  made  extension  tubes  are  available  for 
Eastman  Cine  Kodaks  and  for  other  makes  of  cameras  by  some  acces- 
sory manufacturers.  Use  of  extension  tubes,  as  with  shims,  requires 
that  same  system  for  full  field  visual  focusing  be  employed,  as  camera 
viewfinder  does  not  function  in  ultra  closeup  filming.  With  maga- 
zine cameras,  the  visual  focuser  provided  by  the  manufacturer  may 
be  used  for  this  purpose.  Use  of  extension  tubes  with  any  demount- 
able cine  camera  lens  will  enable  one  to  secure  microscopic  closeups 
with  fidelity  not  possible  otherwise  except  with  expensive  equipment. 


Any  telephoto  lens  may  be  employed  for  closeup  filming,  provided 
field  size  must  not  be  too  small.  Average  3"  telephoto,  for  example 
will  focus  down  to  only  six  feet.  At  this  point,  the  field  is  approxi- 
mately 9^4  X  7 '  8  •  However,  shims  and  extension  tubes  may  be 
cclipled  with  telephotos,  same  as  with  one-inch  lenses,  to  obtain  sharp 
focus  on  a  smaller  field.  Here  again,  some  means  must  be  provided 
for  full  field  visual  focusing.  Also  auxiliary  lenses  may  be  used  with 
telephoto  lenses  for  ultra-closeups.  For  example,  a  5  diopter  auxiliary 
lens  before  a  5"  telephoto  would  enable  the  lens  to  film  an  object 
sharply  in  a  field  but  5^"  x  i"  in  size!  When  auxiliary  lenses  are 
used,  camera  lens  is  set  at  infinity. 


r 


mm 


•  Typical  attendance  at  a  group  meeting  of  Detroit  Society  of  Ci  nematographers.  Note  the  many  ladies  present. — Photo  by  W.E.Clyma. 


y[ou  can  t  mU^  wit  It 


thi 


movie 


mi  \m 


w 


M 


HAT  it  takes  to  make  a  cine 
club  successful  has  been  the  subject  of 
countless  round-table  discussions.  My 
long  membership  with  the  Detroit  So- 
ciety of  Cinematographers  has  enabled 
me  to  study  every  phase  of  club  activity 
at  close  range  and,  I  believe,  qualifies 
me  to  offer  some  suggestions  for  the 
benefit  of  other  amateur  groups  that 
will  aid  in  building  a  worthwhile  and 
successful  club. 


M 


It  was  with  pride  in  accomplishment 
that  I,  together  with  other  officers 
watched  our  club  grow  from  a  com- 
paratively small  organization  of  about 
40  members  to  a  membership  more 
than  ten  times  as  great.  Like  a  child 
who  outgrows  its  clothes,  we  were 
obliged  almost  constantly  to  find  new 
quarters  to  fit  our  growing  organiza- 
tion. During  this  "growing"  stage,  we 
encountered  many  problems  and  made 
some  mistakes  which 
BobHanduiker  embryo   club  groups 

may  easily  avoid. 

All  of  us  are  famil- 
iar with  the  old  story 
of  the  man  who  tried 
to  swing  the  bear  by 
its  tail  and  ultimately 
found    himself,  in- 


•  "Gadget  Night,"  dur- 
ing which  accessories 
constructed  by  members 
are  demonstrated,  has 
proved  a  highly  enter- 
taining and  educational 
feature  of  movie  club 
programs. 


Stead,  being  swung  by  the  bear.  The 
same  moral  holds  true  with  many 
amateur  movie  clubs  in  regard  to  mem- 
bership. Before  striving  to  build  a  club 
to  a  large  membership,  consideration 
should  be  given  to  the  disadvantages  of 
too  many  members. 

Large  meeting  places  are  expensive  to 
rent  and  oftentimes  unavailable;  in  a 
large  room,  all  except  those  in  the  front 
rows  are  handicapped  because  of  dis- 
tance from  the  stage  or  platform;  large 
groups  must  necessarily  have  such  a  di- 
versified range  of  desired  programs  that 
it  is  almost  impossible  to  satisfy  more 
than  a  few;  the  neighborly  feeling  is 
lost  in  large  groups  and  even  the  offi- 
cers can  know  only  a  limited  number 
of  members  by  name;  outdoor  activi- 
ties are  hampered  because  of  the  large 
number  present  and  subsequent  difficul- 
ty in  handling  so  many  persons;  indi- 
viduals or  firms  who  are  likely  to  coop- 
erate with  smaller  groups  are  reluctant 
to  grant  favors  to  large  groups  for  ob- 
vious reasons.  There  are  other  disadvan- 
tages, too.  Of  course,  there  are  a  few 
advantages,  such  as  the  grouping  of 
persons  according  to  experience  and  de- 
sires, but  these  are  outweighed,  I  be- 
lieve, by  the  disadvantages. 

Where  a  club  has  an  enthusiastic 
membership,  be  it  ever  so  small,  they 
are  in  a  position  to  develop  into  a 
throbbing,  important  factor  in  their 
community.  Members  are  banded  to- 
gether because  they  have  a  common 
hobby — amateur  movies.  So  long  as 
they  are  furnished  with  talks,  demon- 
strations, films,  outdoor  projects,  con- 
tests, and  a  genuine  feeling  that  this  is 
their  club,  there  need  be  no  fear  of 
•  Continued  on  Page  242 

236 


HOME  MOVIES  FOR  JUNE 


PACE  237 


WIty.  ^cene^  ^Itould  be  planned, 
filmed  and  edited  for 


£N  the  words  of  one  famous 
authority  on  amateur  movies,  "one  of 
the  principle  shortcomings  of  ambitious 
amateur  films  is  lack  of  sequence." 
Every  amateur  has  heard  of  sequence 
before.  Some  as  yet  do  not  understand 
it.  Webster's  defines  the  word  sequence 
as  it  applies  to  motion  pictures  thus: 
"A  section  of  a  film  story  showing  an 
uninterrupted  episode  without  time 
lapses,  titles,  or  breaks  in  the  action." 
In  more  succinct  language,  a  sequence 
in  motion  pictures  consists  of  two  or 
more  scenes  relating  to  the  same  action. 

When  the  quoted  amateur  movie 
critic  complained  of  lack  of  sequence 
in  home  movies,  he  had  in  mind  the 
many  films  made  up  of  countless  unre- 
lated shots  even  though  they  be  of  the 
same  subject  or  theme.  "Post  card" 
movies  we  term  them  because  actually 
such  reels  consist  of  a  series  of  individ- 
ual unrelated  scenes. 

Sequence  shooting  consumes  no  more 


W 


M 


film  than  would  ordinarily  be  required, 
because  by  cutting  sharply  from  a  long 
or  medium  shot  to  a  closeup,  the  initial 
scene  is  lessened  in  footage  and  the 
film  thus  saved  used  for  the  succeeding 
shot.  Thus,  instead  of  a  single  long  shot 
of  the  baby  romping  on  the  lawn,  we 
make  the  subject  doubly  interesting  by 
filming  him  in  two  or  three  successive 
shots,  moving  in  for  a  closeup  in  the 
final  shot  of  the  sequence  to  bring  our 
subject  up  large  and  more  intimately 
on  the  screen. 

Opposed  to  this  type  of  filming  we 
have  the  movie  that  begins  with  a  shot 
of  the  baby,  then  jumps  to  a  shot  of 
the  family  dog  followed  by  a  street 
scene,  back  to  the  garden  showing  other 
members  of  the  family  grouped  and 
staring  at  the  camera  and  so  on,  ad 
infinitum.  This  is  "post  card"  filming. 


Keeping  to  the  subject  of  family 
filming,  let's  see  how  an  amateur  should 
proceed  to  film  a  movie  of  his  three- 
year-old  son — a  picture  depicting  the 
events  and  activities  occurring  in  the 
boy's  everyday  life.  Following  the 
main  and  credit  titles,  the  picture  opens 
with  a  medium  long  shot  of  the  boy's 
bedroom.  Following  this  will  be  a  short 
close-up  of  a  clock  indicating  time  the 
little  fellow  arises.  From  here  the  cam- 
era moves  in  closer  to  the  crib  to  pick 
up  the  lad,  just  awakened,  twisting, 
turning,  yawning  and  blinking  his 
eyes.  A  tight  close-up  here  reveals  only 
the  boy's  head  as  he  registers  a  big 
yawn  and  chubby  fingers  gently  erase 
tell-tale  traces  of  the  sandman's  visit 
during  the  night.  Such  scenes  give  a 
more  realistic  touch  and  imparts  per- 
•  Continued  on  Page  247 


•  Pictured  here  is  good  example  of  a  well-filmed  sequence.  The 
series  is  obviously  intended  as  record  of  sister  and  little  brother 
and  might  have  ended  with  the  first  shot  of  sister  rocking  little 
brother  to  sleep.  However  filmer  continued  with  the  action, 


showing  sister  putting  brother  in  his  crib,  and,  in  the  third 
shot,  brought  the  two  into  intimate  closeup  in  action  showing 
sister  patting  brother's  head  in  a  good  night  gesture. 

— Pictures  by  Earl  Theisen. 


PAGE  238 


HOME  MOVIES  FOR  JUNE 


THE  EXPERIHEKTIL 


Conversion 

Photo  shows  how  I  converted  my 
8mm.  Keystone  L-8  projector  to  take 
400  foot  reels,  and  yet  fit  the  original 
projector  carrying  case.  Necessary  ma- 
terials for  this  job  consisted  of  one 
aluminum  bar  6^/4"  wide  and  Ys"  thick; 
two  y/'  bolts  with  wing  nuts  and  lock 
washers;  and  four  Yz"  bolts  and  nuts. 
Tools  required  were  hack  saw,  drill, 
pliers  and  a  screwdriver. 

Others  who  own  this  model  projec- 
tor may  easily  add  this  improvement  as 
follows:  Remove  projector  handle  and 
use  frame  where  handle  was  connected 
to  take  its  place.  Cut  both  reel  arms  at 
the  mid-way  point,  then  cut  aluminum 
bar  so  as  to  have  two  pieces,  one  meas- 
uring lYz"  long  for  the  upper  arm  and 
the  other  3  Yz^'  in  length  for  the  lower 
or  take-up  arm. 

File  corners  of  one  end  of  each  bar 
in  a  semi-circular  shape  to  allow  free 
play  when  folding  out  of  place.  Drill 
three  holes  in  each  bar:  one  on  the 
rounded  end  for  the  bolt  and  wing  nut 
and  two  holes  at  the  opposite  end  to 
match  similar  holes  drilled  in  the  cut- 
off sections  of  the  reel  arms.  File  a 


IF  YOU  have  an  idea  for  a  gadget, 
trick  or  shortcut  in  filming,  ti- 
tling, editing  or  processing  home 
movies,  pass  it  on  to  your  fellow 
cinebugs  through  these  columns.  If 
your  idea  is  published  you  will  re- 
ceive two  reels  for  your  efforts.  Ex- 
traordinary ideas  will  net  you  a  roll 
of  film. 

Ideas  not  published  will  be  held 
for  future  publications  unless  they 
duplicate  ideas  previously  received. 
Endeavor  also  to  send  along  photos 
or  rough  sketches  illustrating  your 
suggestions.  There  is  no  limit  to 
number  of  suggestions  you  may  sub- 
mit. 

Important:  When  submitting  ideas, 
be  sure  to  mention  whether  equip- 
ment you  use  is  8  mm.  or  16  mm., 
enabling  us  to  promptly  forward 
awards  adaptable  to  your  use. 


groove  in  center  of  each  aluminum  bar 
section  to  match  impression  in  reel  arms. 
This  serves  to  keep  bar  in  rigid  posi- 
tion when  locked  in  place. 

Replace  take-up  belt  with  a  longer 
one.  The  original  upper  belt  may  be 
used  with  the  extended  arms  but  the 
belt  retainer  must  be  bent  out  about 
Yz"  and  a  small  piece  of  metal  sol- 
dered to  it. 

Only  a  slight  change  in  the  carrying 
case  is  necessary  to  accommodate  the 
re-vamped  projector.  Remove  support- 
ing block  attached  to  door  and  replace 
it  at  a  point  about  3  Y2"  from  bottom 
of  case  and  i  Y2"  away  from  right 
hand  side.  Drill  another  hole  in  case 
door  and  use  Y/'  bolt  with  wing  nut  to 
hold  400-ft.  projection  reel. 

The  hinge  shown  attached  to  lamp- 
house  acts  as  shield  against  stray  light 
emitted  from  film  aperature.  It  may  be 
folded  back  to  permit  threading,  then 
returned  to  position  after  projector  is 
started. 

—Robert  L.  CantiUo, 
Bronx,  N.  Y. 


Sr/U  CAM£RA 


SOWffi 


Centering  Gadget 

A  gadget  for  centering  camera  lens 
on  titles  or  small  objects  for  ultra- 
closeup  photography  can  be  fashioned 
from  an  old  still  camera  viewfinder 
mounted  to  fit  your  camera  lens  as 
shown  here. 

The  two  fittings  necessary  may  eas- 
ily be  turned  by  hand.  The  fitting  A 
may  be  made  of  brass,  aluminum,  or 
other  soft  metal,  turned  on  a  lathe  or 
filed  to  shape  then  threaded  to  fit  the 
lens  barrel.  The  fitting  B  can  be  made 
from  a  strip  of  any  light  metal  about 
r  16"  in  thickness  and  bent  to  shape 
as  shown.  This  fitting  is  then  attached 
to  fitting  A  by  means  of  a  small  screw 
as  shown. 

Next  step  is  to  screw  the  assembly 
into  the  lens  until  it  stops.  Then  adjust 


fitting  B  until  it  is  truly  vertical  and 
solder  in  place.  Solder  the  angular  view- 
finder  to  member  B  as  shown,  making 
sure  it  is  accurately  centered  with  the 
camera  lens. 

Thereafter  the  unit  may  be  screwed 
into  place  in  the  lens  with  assurance 
that  it  will  be  in  perfect  alignment  and 
thus  render  perfect  centering  of  ob- 
jects to  be  photographed  at  close  range. 

— Arthur  j.  Mack, 
Ithaca,  N.  Y. 

Cement  Applicator 

An  improvement  over  the  customary 
brush  applicator  for  film  cement  is  a 
"speedball"  lettering  pen  which  applies 
cement  evenly  and  in  just  the  right 
amount  to  make  a  clean  firm  splice,  free 
from  slopped-over  cement.  "Speed- 
ball"  lettering  pens  are  used  by  show- 
card  writers  and  are  available  in  two 
types — round  and  square  point.  Use  the 
square  point  pen  for  applying  cement. 
These  pens  are  available  for  a  few  cents 
from  any  stationary  or  artists'  supply 
store. 

— Russell  A.  Meyer, 
Oakland,  Calif. 

Range  Finder 

Photograph  below  shows  Eastman 
Magazine  Cine  Kodak  fitted  with  a 
Kodak  Service  Range  Finder.  Attach- 
ment was  facilitated  by  purchasing  reg- 
ular finder  Clip  (Eastman's  No.  76268) 
and  fitting  it  to  camera  by  removing 
one  of  the  screws  in  the  camera  view- 
finder  housing  and  then  attaching  clip 
at  this  point  with  one  of  the  screws 
furnished  with  it.  With  the  clip  thus 
secured  with  but  one  screw,  it  has  a 
tendency  to  turn.  To  overcome  this,  a 
flat  piece  of  steel,  Y/'  thick,  was  at- 
tached to  back  of  rangefinder  in  such 
a  manner  as  to  prevent  any  movement; 
the  piece  of  steel  resting  firmly  against 
camera  case. 

— Charles  ).  Czech, 

North  Troy,  Neu  York 


HOME  MOVIES  FOR  JUNE 


PAGE  239 


CIH  WORKSHOP 


Film  Storage 


Photos  show  a  method  I  use  for  stor- 
ing odd  shots  and  scenes  for  possible 
future  use.  I  purchased  a  quantity  of 
round  cardboard  pill  boxes  2^"  in 
diameter  and  i"  in  height.  On  panels 
of  rigid  corrugated  board  i6'/2"xi4"  I 
cemented  the  boxes  in  rows,  30  to  a 
panel.  Each  box  is  numbered  and  in  a 
card  file  I  have  ^"xS"  cards  with  cor- 
responding numbers  on  which  is  writ- 
ten a  description  of  the  contents  of 
films  placed  in  the  boxes. 

I  have  found  these  pill  boxes  keep  the 
film  in  very  good  condition  and  have 
some  pieces  that  have  been  so  stored 
for  eight  years.  Left  photo  shows  how 
boxes  are  arranged  on  corrugated  board 
and  photo  at  right  shows  method  of 
storing  the  panels,  stacked  one  upon 
the  other  in  numerical  order. 

—W.  J.  Mitchell, 
Ithaca,  N.  Y. 


Stop-Motion  Fades 

Shown  here  is  a  means  for  improving 
the  Baia  Transito,  Jr.  fading  device  to 
facilitate  making  smooth  fades  in  single 
frame  or  stop-motion  sequences  where 
fades  are  made  by  diminishing  exposure 
for  each  frame  exposed. 

A  paper  strip  Ys"  wide  and  10"  long 
is  cemented  to  the  rim  of  the  fader,  as 
shown.  After  inking  in  the  calibrations 
and  numbering  same,  the  strip  is  then 
covered  with  a  strip  of  transparent  cel- 
lophane tape.  The  circumference  being 
exactly  10"  will  divide  into  80  Ys" 
divisions  —  numbered    from    i    to  40 


twice.  Forty  divisions  were  chosen  be- 
cause there  are  40  frames  to  a  single 
foot  of  1 6mm.  film  which  is  the  maxi- 
mum length  of  a  slow  fade. 

The  pointer  A  is  made  to  slip-fit  the 
fader  hub  so  that  it  may  be  removed 
during  the  interval  between  34  and  6, 
when  it  would  be  directly  in  line  with 
the  lens.  But  beyond  these  points,  it 
may  be  left  in  place. 

To  make  the  fade,  the  pointer  is  set 
at  one  of  the  divisions  and  then  moved 
one  or  two  points  at  a  time,  depending 
upon  length  of  fade  required,  the  frame 
exposed,  and  the  procedure  repeated  un- 
til the  full  cycle  of  the  fade  is  com- 
pleted. 

— G.  Hanson, 

Los  Angeles,  Calif. 


HOME  MADE  REFIECTORS 


^JXH'  FOIL  Ctt^CHT^tO 
ON  eOARb.  IN  ROWS 


Reflectors 

Sunlight  reflectors  are  essential  for 
best  results  in  outdoor  photography. 
They're  simple  and  easy  for  any  ama- 
teur to  make,  too.  Required  is  a  piece  of 
wallboard  or  plywood,  24"x36".  The 
surface  is  covered  with  tin  foil  squares 
from  discarded  cigarette  wrappers. 
Lacking  these,  other  materials  may  be 
used  such  as  sheet  aluminum  or  tin  foil 
where  still  be  procurable,  or  a  coating 
of  aluminum  or  chrome  enamel.  The  lat- 
ter is  best  as  it  has  a  higher  lustre  than 
aluminum  paint. 

Where  wallboard  is  used,  cut  through 
panel  at  the  center  from  the  back,  as 
shown,  bend  double,  and  apply  a  strip 
of  wide  adhesive  tape  on  the  uncoated 
side.  This  provides  a  hinge;  permits 
folding  reflector  to  facilitate  carrying. 

Carrying  handles  may  be  formed  of 
short  lengths  of  rope  inserted  in  holes 
at  either  end. 

— Wm.  H.  Dietz, 
Reading,  Penna. 

Stirring  Rod 

If  you've  been  using  glass  stirring 
rods  in  mixing  solutions  for  home  pro- 
cessing of  film,  you'll  appreciate  a  sub- 
stitute that  eliminates  the  possibility  of 
breakage  inherent  in  glass.  I  discovered 


g.adg.et^y  tricks  ^ 
^Uortcut^  contri- 
butedby.  Cinebug.^ 


the  plastic  iced  tea  spoons,  for  sale  at 
five  and  ten  cent  stores,  excellent  for 
this  purpose.  They  are  available  in  a 
variety  of  colors  and  are  unbreakable. 
By  acquiring  several — all  different  col- 
ors— one  can  be  used  for  developer,  one 
for  bleach,  one  for  hardener,  etc. 

— Frisco  Roberts, 

Corpus  Chrisli,  Tex. 

Lens  Cap 

A  good  substitute  for  a  rubber  lens 
cap  is  an  ordinary  cork  trimmed  to  fit 
snugly  inside  rim  of  the  lens.  In  many 
instances  corks  may  be  found  that  will 
fit  a  lens  without  any  trimming  except 
for  length.  Corks,  being  cut  tapered, 
afford  a  variation  of  diameters. 

A  cork  lens  caps  also  acts  as  a  buff- 
er —  safeguarding  lens  from  damage 
should  one  accidentally  bump  camera 
against  a  rock  or  other  hard  surface 
when  filming  in  the  mountains  or  afield. 

— Edgar  Robyn, 
San  Diego,  Calif. 

Cable  Attachment 

Many  devices  have  been  designed  to 
permit  use  of  a  cable  release  for  oper- 
ating starting  button  of  the  Filmo 
eight.  Mine  provides  for  two  positions 
for  the  cable  release,  as  shown  in  ac- 
companying photo — one  for  continuous 
running  and  one  for  single  frame  ex- 
posure. 

•  Continued  on  Page  2J4 


PACE  240 


HOME  MOVIES  FOR  JUNE 


m 


Where  to  buy  and 
rent  home  movie  films 


CALIFORNIA 

BEVERLY  HILLS 

Beverly  Hills  Camera  Shop 

417  No.  Beverly  Drive 
GLENDALE 

Kirk's  Camera  Exchange 

1225  So.  Brand  Blvd. 
HOLLYWOOD 

Bailey  Film  Service 

1651   Cosmo  Street 

Bell  &  Howell  Filmosound  Library 

716  N.  La  Brea  Ave. 

Morgan  Camera  Shop 

6262  Sunset  Blvd. 
LONG  BEACH 

Winstead   Bros..  Inc. 

244  Pine 
LOS  ANGELES 

Films  Incorporated 

1709  W.  8th  Street 
SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 

Photo  &  Sound,  Inc. 

153  Kearny  St. 
SANTA  MONICA 

Stewart    Photo  Company 

1257  Third  Street 

DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell   &   Howell   Filmosound  Library 
1221  G  St.,  N.  W. 

BERWYN  "■'■'NO'S 

Colonial  Camera  Shop 

6906  Windsor  Ave. 
CHICAGO 

Bell  &   Howell   Filmosound  Library 

1825  Larchmont  Ave. 

Films  Incorporated 

64  E.  Lake  Street 

General  Camera  Company 

2308  West  Devon  Avenue 

IOWA 

MASON  CITY 
Decker  Bros. 
209  No.   Federal  Ave. 

WICHITA  "KANSAS 
Jeff's  Camera  Shop 
139  N.  Broadway 
Lewis   Film  Exchange 
216  East  1st  St. 

BOSTON  MASSACHUSETTS 

Don   Elder's  Film  Library 
739  Boylston  St.,   Dept.  HM. 
Frank  Lane  and  Company 
5  Little  Building 

DETROIT.  MICHIGAN 

Detroit  Camera  Shop 
325  State  Street 

NEW  YORK 

ALBANY 

Albany  Camera  Shop  Rental  Library 

204  Washington  Ave. 
KENMORE 

Nixon  Camera  &  Photo  Supply  Co. 

281 1   Delaware  Ave. 
NEW  YORK 

Bell  &  Howell  Filmosound  Library 

30  Rockefeller  Plaza 

Films,  Incorporated 

330  W.  42nd  St. 

Walter  O.  Gutlohn,  Inc. 

25  West  45th  St. 

Haber  &  Fink,  Inc. 

12-14  Warren  St, 

Medo  Photo  Supply 

15  West  47th  St. 

CINCINNATI  OHIO 

Ralph  V.  Halle  &  Assoc. 

215  Walnut  St. 
DAYTON 

South   Park  Fotoshop 

1027   Brown  Street 

Dayton  Film  (8-16)   Rental  Libraries 

2227  Hepburn  Ave. 


JJ/  ^ou  want  a  FILM  iA 


ow 


•  •  • 


here's  news  of  timely  subjects  for  home  projectors 


to  the  stuff  Chinese  warriors  are  made 
of  is  to  be  had  in  a  screening  of  "China 
At  the  Front,"  released  in  i6mm.  si- 
lent (only)  by  Hollywood  Film  Enter- 
prises, Hollywood.  This  film,  produced 
several  years  ago,  brings  you  right  be- 
hind the  guns  of  China's  gallant  sol- 
diers, shows  their  remarkable  calm  un- 
der fire  while  comrades  are  dropping 
from  enemy  bullets  all  around  them. 

A  daringly  filmed  war  document,  it 
is  adaptable  to  all  types  of  audiences. 
Prints  may  be  obtained  through  dealers 
or  direct  from  the  producer,  Hollywood 
Film  Enterprises,  Inc.,  Wm.  Horsley 
Bldg.,  6o6o  Sunset  Blvd.,  Hollywood. 


Canyon  Triology 

Timely  as  Summer  itself  is  Castle 
Films'  latest  travel  reel,  Bryce-Zion- 
Grand  Canyon.  Many  thousands  of  feet 
of  film  were  exposed  by  an  expert  cam- 
era crew  to  produce  this  scenic  marvel 
of  three  of  America's  most  startlingly 
beautiful  spectacles.  The  mighty  gorge 
of  the  Colorado  River  is  pictured  in 
all  its  splendor,  together  with  the  less 
well  known  but  equally  fascinating 
peaks  and  marvels  of  erosion  to  be  found 
in  nearby  Bryce  and  Zion  Canyons. 

For  the  millions  of  Americans  who 
have  made  the  pilgrimage  to  nature's 
most  awe-inspiring  sight,  as  well  as  the 
millions  who  hope  to  make  it  some  day, 
this  picture  is  a  must.  If  you  have  al- 
ready made  the  trip,  this  Castle  release 
will  provide  you  with  many  breath- 
taking shots  which  can  be  spliced  into 
your  own  version  of  the  Canyons.  Avail- 
able in  black-and-white  at  photo  deal- 
ers in  8mm.  and  i6mm.  sizes  at  the 
usual  Castle  prices. 


Fighting  Chinese 

A  remarkable  and  thrilling  insight  in- 


ORECON 

PORTLAND 

Films  Incorporated 
314  S.  W.  9th  Avenue 

PENNSYLVANIA 

PHILADELPHIA 

Kunz  Motion  Pictures 
1319  Vine  Street 

TEXAS 

DALLAS 

National-Ideal  Pictures,  Inc. 
2024  Main  St. 


The  Real  Hawaii 

Three  other  industries  come  ahead  of 
the  tourist  trade  in  Hawaii.  First — de- 
fense! Battleships  and  soldiers,  then  su- 
gar and  pineapples.  This  film  deals  in 
detail  with  all  four,  and  also  covers 
population  composition  and  inter-rela- 
tionships, food  supply,  natural  wonders, 
and  life  of  original  native  people.  Time- 
ly, new,  beautiful,  instructive.  Sound, 
ID  minutes.  Sale:  Color  $60,  mono- 
chrome S36;  rental:  color  $3,  mono- 
chrome $1.50.  Available  from  Bell  & 
Howell  Co.,  Chicago,  or  its  many 
branches. 

Captain  Fury 

"Captain  Fury"  the  fourth  of  a 
series  of  Great  Hits  by  Hal  Roach  now 
being  made  available  in  i6mm.  Sound 
by  Post  Pictures  Corp.,  723  Seventh 
Avenue,  New  York  City,  will  be  re- 
leased for  non-theatrical  showings  June 
1st,  This  is  a  full  length  production 
featuring  Brian  Aherne  and  Victor  Mc- 
Laglen  in  the  true  adventure  story 
based  on  the  life  of  the  Australian  Rob- 
in Hood  and  his  fight  for  freedom 
'Down  Under'  a  century  ago. 

Other  Hal  Roach  productions  in  the 
series  now  being  distributed  by  Post 
Pictures  are:  "There  Goes  My  Heart" 
co-starring  Fredric  March  and  Virginia 
Bruce,  and  "Topper  Takes  a  Trip". 


HOME  MOVIES  FOR  JUNE 


PAGE  241 


The  new  1942  Catalogue  detailing 
the  complete  list  of  full  length  features 
now  being  offered  on  i6mm.  Sound 
through  Post  Pictures  Corp.,  may  be 
had  on  request  in  writing  to  the  com- 
pany. 


Fresh  Water  Fishing 

This  reel  is  of  particular  interest  to 
enthusiasts  who  are  overhauling  their 
tackle  already  for  the  vacation  days 
ahead.  It  captures  for  permanent  record 
the  swirl  of  a  speckled  trout  in  a  vine 
shaded  rushing  brook  ...  a  lusty  fight 
to  the  "kill"  of  a  threshing  salmon.  The 
ultimate  in  flycasting  technique  is  por- 
trayed by  experts,  in  a  setting  of  fish- 
erman's paradise.  For  the  outdoor  fan 
who  is  not  a  real  fishing  "bug"  the 
sequences  showing  shining  silver  mon- 
sters storming  the  rapids  to  reach  their 
spawning  grounds  provide  a  never-end- 
ing source  of  entertainment. 

Fresh  water  fishing,  in  8mm.  and 
1 6mm.  silent  and  i6mm.  sound  on  film 
is  offered  for  sale  at  photographic  deal- 
ers by  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City. 


Aluminum 

Presenting  the  story  of  a  vitally  im- 
portant metal,  Eastman  Kodak  Com- 
pany announces  a  new  i6mm.  silent 
film  titled  "Aluminum."  Shown  are 
underground  and  open  pit  mining 
methods,  and  preliminary  processing  at 
the  ore  mill.  The  production  of  alumi- 
num oxide.  Reduction  of  the  oxide  by 
the  electrolytic  method.  Casting.  Fab- 
rication of  aluminum  wire  and  cable. 
The  rolling  mill  and  the  manufacture 
of  kitchen  utensils  by  stamping  and 
spinning.  Forging  an  airplane  propeller 
blade.  Various  uses  of  aluminum  in  in- 
dustry and  home.  "Aluminum"  (one- 
reel,  400ft.)  is  immediately  available 
from  Teaching  Films  Division,  East- 
man Kodak  Company,  Rochester,  N.  Y. 


THIS  summer  season  .  .  .  and  throughout 
the  seasons  to  come  .  .  .  there  are  great 
pictures  ahead  for  you  if  you're  a  fortu- 
nate Master  owner. 

For  your  MASTER  provides  the  unusual 
combination  of  precision  and  ruggedness 
...  to  insure  you  consistently  "on-the-dot" 
exposures  throughout  the  years. 

It's  the  same  combination  that  has  kept 
Weston  instruments  the  universal  leaders 
...  in  scientific  laboratories,  in  engineer- 
ing schools,  and  throughout  industry  gen- 


When  you  use  duPont  16  mm  films  you 
enjoy  the  multiple  advantages  of  speed 
—  economy  —  wide  exposure  latitude — 
and  permanence. 

SUPERIOR  PAN  (high  speed  reversal)— 
With  this  extremely  sensitive  film  you 
can  make  movies  under  the  most  ad- 
verse of  lighting  conditions,  indoors  or 
out.  Long  scale  gradation  of  the  emul- 
sion retains  the  detail  in  both  highlight 


erally  .  .  .  wherever  precise  measurement 

is  vital. 

With  your  Master,  you,  too,  are  the 
lucky  owner  of  a  truly  precision  instru- 
ment. One  which  never  grows  old  with  use 
.  .  .  only  with  misuse.  Take  good  care  of 
it,  and  it  will  take  good  care  of  your  pic- 
ture needs  for  the  duration  and  beyond. 
Weston  Electrical  Instrument  Corpora- 
tion, 585  Frelinghuysen  Ave.,  Newark,  N.J. 


and  shadow.  Try  a  roll  next  time  you 
make  a  home  movie.  ^6.40  a  hundred 
feet,  with  processing.  (Weston — 100  day 
—80  maz.) 

REGULAR  PAN  (standard  speed  reversal) 
— The  all-purpose  duPont  economy  film 
for  outdoor  use.  Wide  latitude  makes  it 
easy  to  use.  Its  brilliant  gradation  adds 
sparkle  to  your  movies.  ^4.80  per  hun- 
dred feet,  with  processing.  (Weston  12-8) 


E.  I.  DU  PONT  DE  NEMOURS 

Pholo  Products  Department  •  Wilm 


ington,  Delaware  "  UlVi^ 


WESTOIM  CxposureMefers 


For  Satisfying  Results  § 
Try  DU  PONT  16  mm  Films 


PACE  242 


HOME  MOVIES  FOR  JUNE 


EXCtKPTS  FRO 


Thrilling   Low-Cost  Excerpts 
Now  Ready  for  Your 
Home  Screen! 

Think  of  seeing,  in  your  own  living  room,  the 
mighty  battle  scenes  that  have  held  millions 
spellbound!  Think  of  unreeling  the  stirring  scenes 
of  American  heroism  as  vast  armies  charge  and 
retreat — as  big  cannons  roar — as  shot  and  shell 
rain  death  and  destruction!  Think,  too,  of  be- 
holding the  great  patriotic  scenes  from  American 
H  i story. 

The  golden  excerpts  from  this  great  picture  have 
been  carefully  edited  and  condensed  to  give  you 
the  precious  essence  of  this  enthralling  spectacle. 
In  every  subject  you  find  action — adventure — 
romance — suspense — the  essentials  of  great  drama. 

Now  Ready!  Order  At  Once! 

50  tee*  8mm.  only  $2.00 
100  feet  16mm.  only  $3.50 

1.  ASSASSINATION  OF  LINCOLN 

The  authentic  story  of  one  of  the  greatest  trag- 
edies in  our  history!  You  see  John  Wilkes  Booth, 
cautious,  desperate!  The  stealthy  approach  to  the 
President's  box.  the  fatal  shot,  the  turmoil  of 
the  aftermath. 

2.  CIVIL  WAR  BATTLE  SCENES! 

Proclaimed    the   finest   war   scenes   ever  photo- 
graphed!  Vast   panoramas  of  mighty  armies  in 
the   death   struggle!   Artillery   duels!  Desperate 
charges!  Fierce  hand-to-hand  fighting! 
Other    complete    excerpts   to    be    released  soon! 

Order  From  Your  Dealer  Today! 

Distributor:    Intercontinental    Marketing  Corp. 

95  Madison  Avenue.  New  York  City 


3327  S.  Figueroa 


Los  Angeles,  Calif. 


^Stat  *  *  ★  ★ 
MASTER  TITLEER 

Titling  equipment  that  will  give  the  serious 
Srnm.  or  16mm.  user  true  $7  05 

professional  results    "t" 

Write   for   literature  describing  the  Titleer 
and  its  accessories 

Hollywood  Cine  Products 


yiioi^ie  club  plan  .  .  . 


Reversible  Film,  100  Ft  $1.95 

8mm.  Double,  25  Ft  $1.50 

PRICES   INCLUDE  PROCESSING 

.Silly  Symphonies,  Charlie  Chaplin  and  other 
feature-s  at  \yzC  per  foot,  for  complete  subject. 
Write  today  for  our  catalogue  of  finished  subjects. 

STAR    SAFETY  FILM 

630  Ninth  Ave.        Film  Confer  BIdq..  N.  Y. 


Distinctive  TITLES 
and  expert  EDITING 

Fur   ihe   Amateur   and  Professional 
I6mm   —  8mm 
Black   &   White,   Tinted   and  Kodachrome 
Write  for  our  new  illu-'tratftd  catalog 

STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York,  N.  Y. 


•  Continued  from  Page  2}  6 

members  deserting  because  of  'stale' 
programs. 

All  parliamentary  proceedings  should 
be  dispensed  with  at  regular  meetings. 
If  there  must  be  a  business  session,  it 
should  be  held  before  or  after  (or  at  a 
different  time  than)  the  entertainment 
program.  The  members  attend  meetings 
primarily  to  learn  more  about  their 
hobby — not  to  listen  to  stereotyped  'I 
move  this'  and  'I  second  the  motion'. 

My  own  club,  the  Detroit  Society 
of  Cinematographers,  (we  adopted  this 
high-sounding  title  when  the  member- 
ship was  small  and  we  needed  more 
members)  solved  the  problem  by  elect- 
ing a  Board  of  Directors  composed  of 
several  members  who  serve  for  two 
years.  Elections  to  this  Board  are  stag- 
gered so  that  a  couple  of  new  Board 
members  are  elected  each  year,  thereby 
bringing  new  blood  into  the  governing 
body.  This  Board  and  the  officers  meet 
two  weeks  before  the  monthly  enter- 
tainment meeting  and  put  the  finish- 
ing touches  on  the  impending  program. 
All  administrative  matters  are  trans- 
acted at  Board  meetings.  Persons  who 
evince  a  real  interest  in  the  activities 
of  the  club  are  good  officer  and  Board- 
member  material,  and  they  usually  find 
themselves  in  one  of  these  positions  af- 
ter their  faithfulness  has  been  demon- 
strated. 

Any  club,  movie  or  otherwise,  must 
have  publicity.  We  obtain  ours  through 
four  sources,  principally:  Home  Mov- 
ies' directory  of  Cine  Clubs,  the  hobby 
pages  of  the  Detroit  newspapers,  meet- 
ing notice  cards  on  dealers'  counters, 
and  word-of-mouth  gossip  of  the  mem- 
bers. Clerks  in  stores  and  photo  depart- 
ments have  told  me  they  receive  many 
inquiries  concerning  local  movie  groups 
and  are  pleased  to  direct  such  persons 
to  our  organization. 

As  we  must  have  publicity,  likewise 
we  must  have  funds.  We  do  not  believe, 
although  we  once  did,  that  yearly  or 
season  dues  are  practical.  We  collect  our 
dues  in  the  form  of  a  twenty-five  cent 
dues  charge  at  each  meeting  attended. 
Hence,  a  member  pays  for  exactly  what 
he  gets  and  he  feels  pretty  good  about 
it — so  good,  in  fact,  that  we  have  never 
had  cause  to  worry  about  our  finances. 
Others  who  may  adopt  this  idea  should 
make  sure  to  charge  Jues,  not  admis- 
sion, or  Uncle  Sam's  revenue  collectors 
will  also  visit  the  meetings. 

We  believe  we  have  solved  the  prob- 
lem of  the  "darkroom  widow"  by  en- 
couraging wives  to  attend  meetings 
gratis,  with  their  husbands.  Thus,  her 


attendance  does  not  involve  additional 
expense  in  the  family  movie  budget, 
and  it  gives  her  an  opportunity  to  ac- 
quaint herself  with  her  husband's  hob- 
by. Ladies  unaccompanied  by  gentle- 
men are  required  to  pay  the  dues  charge. 
At  the  present  time,  a  large  percentage 
of  our  members  are  ladies  and  they 
thoroughly  enjoy  the  meetings.  Of 
course,  where  a  club  operating  budget 
requires  that  all  ladies  pay  the  dues 
charge,  they  should  assess  all  persons 
attending  the  meetings. 

Postcard  notices  are  mailed  to  mem- 
bers a  few  days  before  each  meeting. 
The  list  of  names  is  furnished  by  the 
members  themselves,  who  sign  a  card 
when  paying  the  dues  charge  upon  en- 
tering the  auditorium.  If  a  person  does 
not  attend  four  consecutive  meetings, 
we  assume  he  has  moved  out  of  the  De- 
troit area  or  is  no  longer  interested. 
His  name  is  then  removed  from  the 
notice  list. 

Since  about  half  of  our  members  are 
interested  in  Smm.  work,  we  arrange 
the  programs  so  that  their  interests,  as 
well  as  those  of  i6mm.  fans,  are  con- 
sidered. We  have  learned  that  it  pays  to 
give  worthwhile  prizes  in  contests.  In 
addition  to  this,  we  present  winners 
with  merit  leaders  for  their  films.  I 
won  one  of  these  leaders  several  years 
ago,  and  my  chest  still  inflates  when  I 
see  it  on  the  screen. 

Nor  do  we  slight  the  ladies  in  our 
programs.  We  not  only  prepare  the  at- 
tractions with  them  in  mind,  but  we 
encourage  them  to  take  part  in  the  pro- 
grams. An  example  of  this  was  a  meet- 
ing at  which  we  photographed  in  Koda- 
chrome four  ladies  from  the  audience: 
a  blonde,  a  brunette,  an  auburn-tressed 
lass  and  a  raven-haired  beauty.  Need- 
less to  say,  it  was  a  riot.  The  following 
meeting,  at  which  the  film  was  screened, 
looked  like  ladies'  day  at  a  big  league 
ball  game. 

Outside  activities  are  essential,  too. 
The  filming  of  a  short  script  in  sum- 
mer, winter  skating  activities  and  film- 
ing excursions,  picnics,  outdoor  barbe- 
ques,  movie  treasure  hunts  and  games 
are  only  a  few  of  the  many  outdoor 
possibilities. 

A  few  years  ago,  we  tried  an  experi- 
ment that  did  not  work  out  so  well.  It 
was  believed  that  the  formation  of 
small  groups  interested  in  special  sub- 
jects would  be  a  progressive  step.  We 
knew  that  some  persons  preferred  mi- 
croscopic work,  others  home  reversing 
and  still  others  some  other  phase  of  our 
hobby,  so  we  organized  groups  for  each 


HOME  MOVIES  FOR  JUNE 


PACE  243 


ACTUAL  PHOTO  ENLARGEMENTS  MADE 
FROM  8MM  OR  I6MM  M0VIE  FILM 


class.  For  some  unexplainable  reason, 
the  individual  groups  did  not  function 
well  and  the  plan  was  discontinued. 

Someone  once  asked,  "Just  what  does 
a  large  club  like  yours  offer  its  members 
in  the  line  of  program  entertainment, 
when  some  are  beginners,  some  are  ad- 
vanced amateurs,  some  like  only  screen- 
ing of  films,  and  others  demonstrations 
and  talks?" 

The  answer  was  that,  as  far  as  pos- 
sible, we  try  to  make  every  meeting  in- 
teresting to  every  class.  Occasionally, 
the  beginner  must  sit  through  a  talk  or 
demonstration  that  is  way  over  his  head, 
or  vice-versa  with  the  advanced  ama- 
teur, but  this  does  not  happen  very 
often.  A  few  of  our  meeting  activities 
are:  talks  by  members  on  interesting 
subjects  such  as  lighting,  composition, 
home-reversing,  title-making,  mainte- 
nance of  equipment,  home-made  gad- 
gets, making  darkrooms  and  home 
projection  rooms,  travel  filming,  etc; 
talks  by  invited  representatives  of  man- 
ufacturers of  equipment;  tourist 
railroad  representatives  with  travel 
films;  demonstrations  of  various  phases 
of  amateur  movie-making,  filming  of 
short  scripts,  quiz  contests  with  prizes, 
gadget  nights,  unwanted  equipment 
night  at  which  the  members  sell  un- 
wanted equipment  to  other  members, 
screening  of  members  films  with  con- 
structive comment  if  desired,  screening 
of  contest  films  with  presentation  of 
prizes,  reviews  at  each  meeting  of  the 
new  equipment  available  to  amateurs, 
and  screening  of  films  produced  by 
members  on  assignment  from  the  Board 
of  Directors. 

It  must  be  borne  in  mind  that  some 
members  wish  to  be  entertained  while 
others  wish  to  do  the  entertaining.  By 
balancing  club  programs,  so  that  those 
members  who  desire  to  do  so  may  pre- 
sent a  portion  of  the  program,  there  is 
never  lack  for  material.  With  a  little 
coaxing,  the  feminine  members  will  be 
glad  to  participate  in  meeting  pro- 
grams. At  the  present  time,  one  of  our 
most  active  Board  members  is  a  woman, 
a  well-known  Detroit  high-school  edu- 
cator incidentally,  and  all  of  us  respect 
her  judgment  and  progressive  ideas.  In 
fact,  we'd  be  lost  without  her  on  our 
Board. 

A  movie  club  is  only  as  successful  as 
its  meetings.  It  is  not  enough  that  one 
or  two  members  become  outstanding 
filmers  leaving  the  rest  to  look  on.  That 
only  develops  inferiority  complexes 
which  discourages  and  disentegrates  a 
club  membership. 

Keep  your  club  active  and  interesting 
Keep  it  small  enough  to  maintain  that 
chummy,  personal  feeling  of  intimacy 
and  it  can't  fail. 


For  the  First  Time 


Sparkling  Album  Sized  Prints 

8MMr."r-^16MM 


ENLARGED 

TO  2'/4"x4l/4' 


S  PviTltS   dIf^erent  $7 

FRAMES  ^ 

ZPrinh  Wi  JOc 


Share   treasured   movie   "shots"  with   your  family  and  friends. 

Now  for  the   first   time!  Superior  offers  genuine 

ENLARCO-PRINTS  of  your  8mm  or  16mm  movie  frames,  black 
and  white  or  color.  These  are  gorgeous  album-sized  pictures. 
Any  8mm  or  16mm  frame  can  be  made  into  clear  prints. 
ENLARCO-PRINTS  are  natural.  .  unposed  likenesses.  .  .  which 
cannot  be  obtained  with  a  still  camera. 

ORDER  DIRECT  FROM  THIS  AD 

Cut  out  at  least  6  inches  of  the  scene  from  which 
you  want  ENLARCO-PRINTS  made.  Place  in  an 
ordinary  envelope  with  your  name  and  address. 
Mention  the  number  of  prints  desired  and  enclose 
remittance  with  order.  Wc  determine  best  frame 
for  making  ENLARCO-PRINTS  with  our  special 
High  Fidelity  Reproducer.  Your  strip  of  film,  or 
films,  will  be  returned  to  you  postpaid  and  un- 
damaged. Order  your  first  ENLARCO-PRINTS  today. 
FREE  literature  sent  on  request. 


SUPERIOR  BULK  FILM  00.  "a-''  i88  w.  Randolph  sl,  Chicago,  ill 


At  Your  Request . . . 

we  are  making  available 

TITLE    CENTERING  GUIDES 

for  all  popular  makes  of  8mm.  and  16mm.  cameras 
IN  PAMPHLET  FORM  .  .  .  1  Oe  EACH 
Now  ready  for  the  following  cameras: 

Revere  8mm.  (All  models) — 8mm.  Magazine  Cine  Kodak — Single-lens  8mm. 
Filmo — 8mm.  Turret  Filmo — 8mm.  Cine  Kodaks  20,  25  and  60 — 8mm.  Key- 
stone—  16mm.  Cine  Kodak  K — 16mm.  Model  70  Filmos — -121  Filmo — 141 
Filmo — Cine  Kodak  E — Cine  Kodak  K. 

Be  Sure  to  Specify  Make  and  Model  and  Camera  When  Ordering. 

HOME    MOVIES  MAGAZINE 

6060  Sunset  Boulevard  Hoi!lywood,  California 


Save  507o  with  .  .  . 

ESO-B 

.\  New  P'INE  GRAIN  8mm.  Emul- 
sion for  all  double  8mm.  cameras. 
Prices  include  spooling  and  processing  without  additional 
charge.  Slit  to  the  single  8mm.  width,  ready  for  projection. 
I-^or  those  spring  home  movies  in  the  popular  Monocolnr 
used  in  many  Hollywood  productions,  see  ESO-C,  ESO-D 
and  ESO-G. 

ESO'A — Fine-grain,  contrast  semi-orthoctiromatic  film 
with  anti-halo  base.  Recommended  for  exteriors  only. 
$1.20  per  spool.  $3.50  per  three  spools. 

ESO-B — Super-orthochromatic  film,  full  anti-halo  protec- 
tion for  use  on  exteriors  and  interiors.  Over  twice  as 
"fast"  as  ESO-A.  $1.25  per  spool.  $3.65  per  3  spools. 

ESO-C — Sepia  ortho  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supplement 
for  your  Kodachrome  movies.  $1.30  per  spool.  $3.70  per 
three  spools, 

ESO-D — Violet  ortho  film,  anti-halo  base.  Excellent  for 
splicing  into  your  Kodachrome  movies.  $1,30  per  spool. 
$3.65  per  three  spools, 

ESO-E — DuPont  super-speed  panchromatic  film,  for  dark 
exteriors  and  interior  photography.  Four  times  as  "fast" 
as  ESO-B.  $2,25  per  spool,  $6,30  per  three  spools. 

ESO-F — DuPont  super-panchromatic  film,  for  dull  days 
and  interior  photography.  Over  twice  as  "fast"  as 
ESO-B.  $2.00  per  spool.  $5,70  per  three  spools, 

ESO-G — A  scarlet  seral-orthochromatic  film  with  full  anti- 
halo  base.  Recommended  for  exteriors  only.  Projects  a 
pleasing  colorful  picture — Ideal  as  supplement  for  Koda- 
chrome movies.  $1.25  per  spool,  $3,35  per  three  spools, 

NOTE:  Tou  may  purchase  all  these  fine  8mm.  emulsions 
at  your  local  dealer's.  If  he  is  unable  to  supply  you. 
please  send  us  his  name  and  address.  Tou  may  forward 
your  first  order  direct  from  this  ad. 

•These  emulsions  available  for  single-run  8mm.  Unlvex 
cameras  also.  Write  for  prices. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantees  all  these  8mm.  films.  You  MUST  be  satisfied 
(hat  you  are  getting  your  money's  worth!  ESO-S  PIC- 
TURES authorize  your  dealer  to  replace  any  film  pur- 
chased, or  to  refund  the  full  purchase  price  on  demand  if 
you  are  not  fully  pleased  with  your  results! 

ORDER    AT    TODAY'S    LOW  PRICES! 

ESO-S  PICTURES 

"Quality  8  Service" 
3945  Central  Street  Kansas  City,  Missouri 


s 


Your  Best  Subjects 

ate  at  4/ome 

Use  your  movie  camera  indoors; 
your  best-loved  subjects  are  there. 
Buy  VICTOR  Lighting  Units  as 
recommended  by  your  VICTOR 
Dealer,  and  have  ample  light  for 
filming  in  black-and-white  or  color. 

SEND      POSTCARD      FOR      FREE  FOLDER 

JAMES  H.  SMITH  &  SONS  CORP. 


620  Lake  Strest 


Griffit'n,  Indiana 


VlCTOR^^ 


PAGE  244 


HOME  MOVIES  FOR  |UNE 


AMERICAN  BOLEX 

WINDERS 

FOR  8mm  and  II  6mm  FILM 


to  know  about  lilt 


Continued  f  rom  Pajfe  2 }  2 


1^     Rugged  construction  insures  life- 
time of  service! 

No  need  to  sprag  feed  by  hand! 

Film  cannot  get  away  from  you 
and  tangle  up  on  table  and  floor! 

No  more  needlessly  ruined  film! 

Keeps  film  always  under  control! 

Sure-grip,  non-slip  handles! 

Self-lubricating,  precision  bearings ! 

Beautifully  styled  and  finished! 

Handles  2000  ft.  reels  on  special 
bases ! 


$6.00  ea.,  $12.00  a  pair 

Special  2000'  bases,  $2.50  pair 

At  your  dealer's,  or  order  direct 

AMERICAN  BOLEX  CO.,  Inc. 

155  E.  44th  St.  New  York,  N.  Y. 

Western  Representot/Ve;  Frank  A.  Emmet  Co., 
2707  W.  Pico  St.,  Los  Angeles,  Calif. 


—CINE  EXTENAR— 

The  lens  you  need  to  get  the  WHOLE 
8mm.  movie  scene  .  .  .  CINE 
EXTENAR  fits  right  over  your  regu- 
lar 8mm.  lens,  and  makes  it  a  wide 
angle. 


An  American  made,  supplementary  lens  to 
the  precision  standards  of  the  finest  camera 
lenses.  Simply  screw  it  on  and,  PRESTO! — 
you  have  a  wide  angle  lens  of  identical  speed 
and  definition.  No  special  focus  adjustment 
required  with  CINE 

EXTENAR  $27.50 

Write  for  illustrated  folder,  giving  make  and 
description  of  your  present  8mm.  lens 

CAMERA  SPECIALTY  CO. 


46  West  29th  St. 


New  York 


its  there  even  though  not  visible  to  the 
eye! — is  allowed  to  pass  to  the  film, 
while  the  blue  light  of  the  sky  is  ab- 
sorbed by  the  filter  causing  the  sky 
area  to  photograph  dark. 

Filters  are  employed  in  all  branches 
of  photography.  But  to  the  movie  ama- 
teur they  are  valuable  for  producing 
unusual  or  striking  contrasts,  for  dram- 
atizing some  scene  or  object  which 
would  otherwise  attract  no  attention 
at  all.  Filters  accomplish  these  results 
by  simply  straining  out  part  of  the 
light  which  would  ordinarily  reach  the 
film. 

Photographic  filters  are  available  in 
two  forms:  in  small  gelatine  sheets 
which  may  be  cut  to  fit  a  suitable  hold- 
er and  placed  before  the  lens,  and  glass 
discs  colored  or  tinted  the  established 
filter  tones.  Some  have  the  colors  ground 
into  the  glass  while  others  are  in  lami- 
nated form — two  discs  of  optical  glass 
with  the  color  substance  sandwiched  in 
between  and  hermetically  sealed.  Color 
filters  for  cinefilming  may  be  catalogued 
into  four  groups:  the  yellow  series, 
green  series,  orange  series  and  red  series. 
Usually  there  are  two  or  more  densities 
of  color  in  each  series. 

Filters  in  the  yellow  series  may  be 
i:sed  with  both  orthochromatic  and 
normal  panchromatic  emulsions.  A  yel- 
low filter,  depending  upon  its  density, 
will  produce  pronounced  cloud  effects, 
better  contrast  between  land  or  sea  and 
sky,  and  a  more  natural  reproduction  of 
tonal  graduation  as  seen  by  the  eye. 

Orange  series  filters  produce  a  great- 
er degree  of  contrast  when  used  with 
orthochromatic  films.  This  filter  will 
give  practically  the  same  effect  with 
ortho  emulsions  as  is  obtainable  with 
a  red  filter  and  pan  films.  Orange  fil- 
ters are  also  ver)'  fine  corrective  and 
contrast  filters  when  used  '.-.-ith  any  pan- 
chromatic film. 

Red  filters  are  used  only  with  pan- 
chromatic emulsions  to  produce  pro- 
nounced contrast  or  exaggerated  ef- 
fects. Skies  will  appear  very  dark  and 
any  clouds  in  the  picture  will  appear 
to  be  fleecy  white.  The  degree  of  con- 
trast will  vary  with  the  density  of  the 
liter  used  and  amount  of  exposure 
given.  Moonlight  effects  may  be  ob- 
tained with  a  red  filter  by  shooting  di- 
rectly into  the  sun  screened  by  clouds, 
but  a  sunshade  also  must  be  used  over 
the  lens. 

The  green  series  of  filters  should  be 
used  only  with  panchromatic  films.  A 
green  filter  is  particularly  helpful  in 
shooting  outdoor  scenes  where  green 
grass,  trees  or  generally  wooded  land- 
scapes  make  up   the   picture.   It  will 


bring  out  any  clouds  in  the  sky  and 
also  tone  down  green  foliage  to  make  it 
appear  in  more  natural  rendition. 

In  addition  to  the  color  filters  just 
described,  there  are  other  filters  that 
may  be  employed  with  black  and  white 
films  for  specific  purposes.  One  is  the 
haze  filter  which  is  a  colorless  filter 
that  absorbs  invisible  ultra  violet  light 
and  cuts  through  the  haze  of  high  al- 
titudes to  bring  out  a  clearer  definition 
of  distant  landscapes.  The  other  is  the 
neutral  density  filter  which  is  employed 
mainly  by  professional  cinematograph- 
ers  for  cutting  down  light  volume  when 
shooting  under  extreme  bright  light 
conditions  such  as  exist  in  deserts,  at 
the  beach  or  in  snow  covered  country. 

To  gain  the  expected  result  with  fil- 
ters it  is  necessary  to  compensate  ex- 
posure according  to  the  degree  of  light 
absorbed  by  them.  In  other  words, 
when  placing  a  filter  before  the  camera 
lens,  intensity  of  light  reaching  the 
film  is  reduced.  Therefore  it  becomes 
necessary  to  compensate  for  this  by 
opening  the  lens  one  or  more  stops 
which  is  readily  determined  according 
to  the  "factor"  of  the  lens. 

We  could  dwell  at  length  upon  the 
explanation  of  the  term  "filter  factor." 
But  a  knowledge  as  to  how  factors  are 
arrived  at  are  not  of  importance  to  the 
amateur  so  long  as  he  knows  what  to 
do  with  the  factor  of  a  filter  once  he 
knows  what  it  is.  Therefore,  accom- 
panying this  article  is  a  chart  of  filter 
factors  for  most  of  the  popular  types 
of  filters  as  they  relate  to  the  various 
types  of  f>opular  cine  films.  While  the 
chart  is  complete  with  factors  for  both 
indoor  and  outdoor  photography,  the 
reader  need  be  concerned  for  the  pres- 
ent only  with  those  factors  designated 
for  "ciaylight." 

With  the  factor  of  a  certain  filter 
known  it  then  becomes  necessary  to 
translate  this  figure  into  terms  of  in- 
creased exposure,  for  as  we  have  al- 
ready stated,  use  of  a  filter  requries  an 
increase  in  exposure.  Accompanying  the 
filter  factor  chart  is  also  a  filter  factor 
compensator  table  which  shows  at  a 
glance  the  increased  exposure  required 
for  each  filter  factor.  Suppose  for  ex- 
ample we  wish  to  use  a  K-2  medium 
yellow  filter  with  Agfa  i6mm.  Hypan 
film.  Under  the  "K2"  column  of  the 
filter  factor  chart  we  find  the  factor 
for  this  combination  to  be  2.  Next  we 
determine  normal  exposure  for  the 
scene  according  to  the  film  being  used 
and  find  it  to  be,  we'll  say,  f  8.  Refer- 
ring to  the  "2"  column  in  the  filter 


HOME  MOVIES  FOR  )UNE 


PACE  245 


factor  compensator  table  we  find  on 
the  line  opposite  f/8  the  exposure  {/$-6 
which  is  the  lens  setting  that  would 
be  required  with  the  K-2  filter  in  use. 

For  those  who  arc  interested  in  ex- 
tending their  filming  experience  to  the 
use  of  filters,  it  is  suggested  that  tests 
be  made  with  filters  of  various  colors 
in  order  to  more  fully  understand  the 
remarkable  life  they  add  to  a  scene.  A 
test  of  this  kind  should  be  made  on  one 
roll  of  film  and,  where  possible,  the 


same  scene  or  camera  setup  should  be 
used  for  each  filter  test  shot.  Your  pho- 
to dealer  will  undoubtedly  be  glad  to 
loan  a  complete  set  of  filters  for  your 
camera  for  such  an  experiment  with  the 
understanding  that  you  are  to  pay  only 
for  those  you  decide  to  keep  upon  com- 
pletion of  the  test.  Filters  are  not  ex- 
pensive, ranging  as  low  as  75c  each. 
But  considering  the  "oomph"  they  give 
black  and  white  movies,  they're  cheap 
at  any  price. 


FILTER  FACTORS  FOR  POPULAR  8MM.  AND  16MM.  REVERSAL  CINE  FILMS 


FILM 

Filter 

De- 
scription: 

K-1 

Light 
Yellow 

K-2 

Medium 
Yellow 

K-3 

Dark 
Yellow 

Aere  1 

Light 
Yellow- 
Green 

Aero  2 

Medium 
Yellow- 
Green 

G 

Orange 

23-A 

Light 
Red 

Cine  Kodak  "S"  

Daylight 
Mazda 

1  5 
15 

2 

15 

2 

LS 

15 

2 

2  5 

2. 

3 

15 

Cine  Kodak  "8"  Super  X  

Daylight 
Mazda 

Cine  Kodak  "8"  Safety  

Daylight 
Mazda 

Cine  Kodak  "8"  Super  X  

Daylight 
Mazda 

Cine  Kodak    i>    Super  XX  

Daylight 
Mazda 

Agfa  16mm.  Plenachrome  

Daylight 
Mazda 

2. 
2. 

5. 
3. 

2. 
3. 

4. 
4. 

Agfa  Ifimra.  Panchromatic  

Daylight 
Mazda 

2. 
1.5 

3. 
2. 

2. 
1.5 

4. 

2. 

8. 
2. 

2. 
2. 

Agfa  16mm.  Triple  "S"  Pan  

Daylight 
Mazda 

1.5 
1.2 

2. 
2. 

1.2 
1.2 

2. 
1.5 

2. 
2. 

Agfa  16mm.  Hypan  

Daylight 
Mazda 

15 
15 

2. 
2. 

1.5 
12 

2. 
15 

3. 
2. 

3. 
3. 

Agfa  lOmm.  Twin-8  Hynan  

Daylight 
Mazda 

1.5 
1.2 

2. 
2. 

1.5 
1.2 

2. 
1.5 

2. 
2. 

Gevaert  Panohro  Super  

Daylight 
Mazda 

1.4 
1.4 

2. 
1.4 

2  8 
2. 

2. 
2. 

2.8 

2.8 
2. 

8. 
4 

Gevaert  Panchro  Microgran  

Daylight 
Mazda 

14 
14 

2. 
14 

2.8 
2. 

2  8 

2.8 
2. 

8. 
4. 

Gevaert  Orthociiromatic  

Daylight 
Mazda 

2. 
14 

8. 
2. 

11. 

4. 

Daylight 
Mazda 

2. 

2  5 

4 

2. 

3.2 

4. 

6  3 

NOTE:  All  figures  are  approximate.  Figures  such  as  2.2  may  be  considered  as  2,  and  1.25  as  1.50 
(or  IV2).  and  etc. 


FILTER  FACTOR  COMPENSATOR 


Normal 
Exposure 


FILTER   FACTOR  NUMBERS 


Filter 

1.5 

2 

2  5 

3 

4. 

5. 

6 

8 

10 

12 

f:  2.< 

2  3 

2. 

EXPOSURE  WITH  FILTER 

J.2 

2.8 

2.3 

2.2 

2. 

4. 

3  2 

2.8 

2.5 

2.3 

2. 

4.5 

4 

3  2 

3. 

2.8 

2  3 

2.2 

2. 

5.6 

4.5 

4. 

3.5 

3.2 

2.8 

2  5 

2.3 

2. 

6.3 

5.6 

4.5 

4.3 

4. 

3.2 

3 

2  8 

2  3 

2.2 

2. 

8. 

6.3 

5  6 

5  1 

4.5 

4. 

3  5 

3.2 

2.8 

2  5 

2  3 

9.1 

8. 

6  3 

5.9 

5.6 

4.5 

4.3 

4. 

3.2 

3. 

2  8 

II.S 

9  1 

8. 

7  2 

6.3 

5  6 

.  5.1 

4  5 

4. 

3  5 

3  2 

12.5 

11.3 

9.1 

8  5 

8. 

6  3 

5.9 

5,6 

4  5 

4.3 

4. 

16. 

12.5 

11.3 

10. 

9.1 

8. 

7.2 

6.3 

5.6 

4  1 

4  5 

22. 

18. 

16. 

14. 

12.5 

11.5 

10. 

9.1 

8. 

7.2 

6  3 

.32 

25 

22. 

20. 

18. 

16. 

14. 

12.5 

11  3 

10 

9.1 

•    Make  Editing  a  Pleasure  # 

EDIT  THE  CRAIG  WAY! 


Craig  Projecto-Editors 

Action-edit  your  movies  in  the  professional, 
Hollywood  manner  with  a  CRAIG  Projecro- 
Edifor.  This  versatile  outfit  permits  careful 
inspection,  slow-motion  if  desired,  of  actual 
smoothly-animated  motion  on  its  brilliant 
miniature  screen.  Use  it  to  transform  ran- 
dom "shots"  into  smooth-running  sequences 
that  everyone  will  enjoy  seeing. 

Smm.  model,  as  illustrated  above,  complete  with 

Junior  Splicer.  Rewinds  and  film  cement  $37.50 

Smm.  Projecto- Editor  alone  $29.50 

16mm.  model  with  Senior  Siilicer  and  Rewinds  $59.50 


Craig  8  &  16mm.  Senior  Splicer 

Makes  perfect,  straight,  professional-like  dry 
splices  .  .  .  quickly,  accurately,  and  without 
wetting  film.  Only  four  simple  operations  re- 
quired. For  Sound  or  Silent,  $10.95. 


— AT  ALL  DEALERS — 


Write  tor  Illustrated  Folder 
CRAIG  MOVIE  SUPPLY  CO. 

_  1053  SOUTH    OLIVE  STREET  - 

■  LOS  ANGELES.  CALIFORNIA  • 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BERNDT-MAURER  RECORDER 


CEO.  W.  COLBURN  LABORATORY 

1197-A  Merchandise  Mart  CHICAGO 


1003   riNNSYLVANIA  AVf.  M.W.,  WASHINGTON.   D.  C. 


PAGE  246 


HOME  MOVIES  FOR  ]UNE 


Aeic  Harrison  D  ur  aline 
MOVIE  FILTERS  and  KITS 


New  SCREW-IN  TYPE  MOUNTED  FILTEUS  to  fit 
all  Smm.  cameras  having  Wollensak  1.9  and  3.5  lenses, 
including  Keystone.  Bell  &  Howell.  Perfes  and  Revere. 
Single  filters  list  at  $2.30  each.  Kits,  cont.ilnlng  two 
filters — Kodachrome  Haze  and  C-4  (for  use  with  tyM© 
'*A**  Kodachroine  in  daylight) — a  Snap-on  Shade  and 
Filter-fold  Case  .is  above  list  at  $5.50. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
R35I  Santa  Monica  Boulevard  Hollywood.  California 


TITLES 

.  .  .  talk! 


They  make  those  home  movies  of 
yours  a  finished  product.  Follow 
your  hobby  fully  .  .  .  have  the  fun 
of  completed   production   by  using 

MITTENS  TITLE  LETTERS 
Sets  Priced  $5.50  up 

On  sale  at  all  leading  camera  stores. 
Ask  for  illustrated  literature  or 
write  direct. 

Ask  for  demonstration  of 
New  Super  Professional  Set! 

Mittens  Letter  Company 

REDLANDS  CALIFORNIA 


Cine  Special  Racier  control 


•  Continued  from  Page  2)4 

to  Bartel,  fitting  the  arm  at  this  point 
involves  some  patience  and  cautious 
procedure.  This  is  because  of  the  series 
of  notches  in  the  slot  in  which  the 
camera  fading  lever  moves.  The  arm 
must  be  adjusted  accurately  so  that  at 
all  times  the  camera  fading  lever  moves 
freely  within  this  slot  without  catching 
in  any  of  the  notches. 

Those  familiar  with  the  Special  will 
observe  at  once  that  with  this  fader 
control  in  place,  it  will  be  impossible  to 
crank  or  wind  the  camera  spring.  But 
since  the  Special  will  film  the  equiva- 
lent of  about  ten  ordinary  scenes  at  one 
winding,  this  difficulty  is  surmounted 
by  fully  winding  the  camera  before  at- 
taching the  fader  control. 

The  procedure  to  be  followed  in 
making  fades  and  dissolves  with  this  ap- 
paratus is  basically  the  same  as  when 
the  fader  control  is  not  attached.  To 
make  a  fade,  the  camera  is  started  with 
the  camera  fading  lever  in  normal  posi- 
tion —  that  is,  at  the  p>oint  marked 
"open."  Position  of  the  fading  lever  is 
now  directed  by  cranking  the  fader 
control,  which  moves  the  lever  up  or 
down  between  the  "open"  and  "closed" 
positions  as  required. 

Pressing  the  camera  starting  button 


into  the  locked  position,  the  camera  is 
allowed  to  run  until  the  necessary  foot- 
age for  the  scene  is  exposed.  At  the 
point  where  the  fadeout  is  to  begin, 
crank  of  the  fader  control  is  turned 
clockwise  until  fading  lever  on  camera 
reaches  the  "closed"  position.  The  cam- 
era then  stops  automatically  with  the 
fadeout  completed. 

To  fadein,  the  procedure  is  reversed. 
Starting  camera  with  fading  lever  in 
closed  position,  the  camera  starting 
button  is  depressed  into  locked  position 
with  the  left  hand  while  with  the  right, 
crank  of  fader  control  is  turned  coun- 
ter-clockwise to  bring  the  fading  lever 
to  "open"  position.  As  soon  as  crank 
of  fader  control  is  felt  resisting  the 
cranking  action,  fading  lever  has  reached 
the  "open"  position  and  cranking  is 
stopped.  The  camera  is  allowed  to  run 
as  long  as  required  to  complete  the 
scene. 

The  speed  or  duration  of  the  fade  is, 
of  course,  controlled  by  the  cranking 
tempo  of  the  operator.  And  so  delicate 
and  sensitive  is  the  control  of  this  de- 
vice that  it  will  accomplish  more  than 
the  normal  tasks  of  making  fades  and 
dissolves,  according  to  Bartel  who  em- 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  reiudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  montfis  are: 

1941 

jULY:  "Within  These  Hills,"  pro- 
duced by  ).  Glenn  Mitchell,  Joplin,  Mis- 
souri. A  16mm  Kodachrome  picture, 
800  feet  in  length,  with  sound  on  disc 
recording. 

AUGUST:  "Dedication,"  produced  by 
Alex  W.  Morgan,  Toledo,  Ohio.  An  8mm 
Kodachrome  picture,  400  feet  in  length. 

SEPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland,  Ohio.  A  16mm  Kodachrome 
picture,  400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  |.  O.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 


NOVEMBER — No.  award. 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  15mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Geurts.  Salt  Lake  City,  Utah.  A 
16mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch,"  pro- 
duced by  Roland  Ray,  Los  Angeles, 
Calif.  An  8mm.  picture,  400  feet  in 
length. 

MAY:  "Oliver  Twist,"  produced  by 
David  E.  Bradley,  Winnetka,  Illinois.  A 
16mm.  picture  approximately  4000 
feet  in  length. 

JUNE:  'A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  Smm.  Koda- 
chrome picture.  200  feet  in  length. 


HOME  MOVIES  FOR  JUNE 


PAGE  247 


ployed  it  in  making  a  breath-taking 
scene  portraying  daybreak. 

The  conventional  amateur  method 
for  producing  this  illusion  in  motion 
pictures  is  to  make  a  series  of  sunrise 
shots  progressively  higher  and  higher 
in  key  or  by  a  more  hackneyed  trick  of 
filming  a  rising  sun  frame  by  frame. 
With  the  fading  lever  of  the  Cine  Spe 
cial  set  at  the  "'/4  open"  or  "  ^2  open" 
position  and  with  the  fader  control  at- 
tached, filming  of  the  sunrise  scene  was 
accomplished  by  Bartel  more  convinc- 
ingly by  slowly  changing  the  shutter 
opening  of  camera  to  increase  exposure 
while  the  camera  was  running.  This  is 
possible,  however,  only  with  the  Cine 
Special  which  has  an  adjustable  shutter. 


The  result  was  truly  remarkable. 
Daybreak  is  depicted  in  one  continuous 
shot.  Extended  over  a  period  of  lo  or 
12  seconds,  the  fade  increased  exposure 
so  slowly  and  smoothly  that  one  is  hard- 
ly awar-'  of  it  on  the  screen.  The  pro- 
jected image,  as  it  becomes  more  lumi- 
nous, does  not  have  the  usual  charac- 
teristics of  a  fadein.  It  appears  more 
life-like,  more  nearly  natural. 

Unfortunately  use  of  this  device  is 
restricted  to  those  who  comprise  the 
lucky  legion  of  Cine  Special  owners. 
But  it's  something  to  keep  in  mind  for 
further  development  should  other  makes 
of  cameras  be  improved  with  automatic 
or  dissolving  shutters  —  when  normal 
production  is  again  resumed. 


filming,  ^or  iecfuence  . 


•  Continued  from  Page  237 

sonality  to  the  shot  not  possible  in  a 
single  long  shot. 

The  camera  moves  back  for  a  me- 
dium shot  as  the  little  fellow  climbs  out 
of  bed  and  the  camera  changes  position 
or  angle  once  or  twice  in  recording 
glimpses  of  him  dressing,  washing,  get- 
ting his  hair  combed,  etc.  Thus  ends  the 
first  sequence  of  our  movie,  and  as  the 
action  as  well  as  locale  moves  from 
bedroom  to  breakfast  table,  the  camera 
prepares  to  record  the  second  sequence. 

Some  filmers  would  begin  this  second 
sequence  abruptly  with  a  shot  of  the 
lad  at  the  breakfast  table.  Modern  mov- 
ie technique  demands  that  this  second 
sequence,  which  obviously  follows  a 
lapse  of  time  not  already  depicted  by 
the  camera,  follow  smoothly  in  some 
form  of  transition  such  as  lap-dissolve 
or  a  double  fade — fading  out  the  last 
shot  of  the  boy  combing  his  hair  and 
fading-in  on  the  next  shot  of  the  boy 
seated  at  the  breakfast  table.  Where 
facilities  are  lacking  for  executing  sat- 
isfactory fades  or  dissolves,  a  transition 
shot  may  be  employed  to  bridge  the  two 
sequences.  Such  a  transition  in  this  case 
might  be  a  single  shot  of  the  boy  de- 
scending a  stairway  or,  lacking  the 
stairs,  of  the  boy  closing  his  dressing 
room  door  and  exiting  toward  the 
breakfast  room.  The  next  shot  should 
show  him  coming  into  the  breakfast 
room  and  climbing  into  his  chair  and 
succeeding  scenes  follow  from  this 
point.  By  following  the  action  in  se- 
quence as  outlined  here,  continuity  has 
been  strengthened  if  not  actually  in- 
jected into  the  picture. 

A  frequent  question  from  movie  am- 
ateurs is  "where  should  consideration 
to  sequence  be  given — when  shoo'^'no 
or  at  the  time  of  editing  the  film?"  Se- 
quences are  completed — given  the  final 


polish — at  the  editing  board,  but  they 
have  their  beginning  actually  before 
shooting,  at  the  time  the  picture  is  be- 
ing planned.  In  the  case  of  a  vacation 
or  travel  film,  sequence  planning  must 
be  done  as  the  filmer  goes  along  but 
even  this  can  be  improved  by  advance 
study  of  travel  folders  to  acquaint  the 
filmer  with  the  location  and  points  of 
interest  which  will  beckon  his  camera. 

Wherever  possible,  each  bit  of  con- 
templated action  should  be  carefully 
planned,  then  written  out  in  scenario 
form.  Camera  angles,  distances,  etc., 
should  be  decided  upon  and  followed  to 
the  letter,  for  its  much  easier  to  plan 
shots  in  leisure  than  to  do  so  in  the 
heat  of  excitement  of  filming  on  loca- 
tion. 

Filming  a  sequence  is  more  than  just 
stopping  and  starting  the  shutter  8  or 
10  times.  Although  the  subject  matter 
remains  the  same,  the  angles,  close-ups, 
long  shots,  etc.,  should  change  repeat- 
edly. This  serves  the  double  purpose  of 
breaking  up  the  monotony  and  creat- 
ing added  interest.  Did  you  ever  see  a 
fight  scene  filmed  in  one  continuous 
shot  from  the  same  point  of  view?  In 
such  a  scene  lasting  a  minute,  12  to  15 
different  shots  quickly  follow  on  the 
screen. 

Ordinarily  it  is  advisable  to  begin 
a  movie  with  a  long  shot.  This  estab- 
lishes the  location,  tells  where  the  ac- 
tion takes  place.  Medium  shots  and 
close-ups  follow  as  required.  Starting  a 
sequence  sometimei  with  a  close-up 
arouses  more  interest,  but  the  next  shots 
must  indicate  the  locale  clearly. 

How  about  various  effects  for  bridg- 
ing sequences?  A  good  question,  and 
one  none  too  easily  answered.  Where 
there  is  a  big  lapse  of  time  and  chmge 
of  location  between  sequences,  a  fade- 
out  and  fade-in  is  best.  Where  the  time 


* 
* 
* 
* 


•()  A(e56a^e  to 
tke  public  and 
tke  tet&iUt: 


PHOTO  LENSES 


AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 

in  an 

AMERICAN -owned 

factory 


We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  'Nation  at 
War  .  .  . 

The  utmost  is  bein^  done  to  meet  the 
demands  of  the  Cot  ernment  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
wmc  of  these  fine  anastigmats  for  civilian 
use  and  so  we  invite  you  to  write  us 
about  your  requirements  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-6 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

★  317  East  34th  Street         New  York  * 


Make  Good  Films  Better 
With 

PARK  CINE  TITLES 

Crisp  Artistic!  Economical! 
Give  meaning  to  your  films. 

Send  for  Latest  Catalog 

Park  Cine  Laboratory 

120  West  41st  St.       New  York  City 


GRADUATE  TO  A  Seemaft/i 

3-star  SPLICER!  , 


jt  Exclusive  "lension 
pins"  lor  q 

'jt'Dry  smulsion 
»craper  —  Ideal  lot 
EodAchromal 
Ancbor*tl  cameni  -  cumot  upMlI 


WHOLESALE  PHOTO   SUPPLY  COMPANY 

7266  BIVtRlT  BOULEVARD       *       HOllTWOOD,  CAllfOBNia 


PACE  248 


HOME  MOVIES  FOR  |UNE 


DEVELOP 

YOUR  OWN  IV10VIES 

ITS  EASY  AND  THRILLING 

Send  fer  one  of  these  low  cost  sets  and  develop  your 
own  movtes:  Consists  of  developing  rack.  tray,  safe- 
lite,  and  set  of  prepared  developing  powders.  Simple 
ster>-by-siep  inso-ucaons  injure  good  results.  Order 
toda>-. 

SIMPLIFIED  DEVELOPING  OUTFITS  including  our 
Prepared  Chemicals.  For  30  ft-  Smgle  8.  S4.20: 
33  ft-  Dbl.  8  &  IS.  SS.95.  Instructions  furnished  Free. 
Powders  only:    i-  G2I.  Set.  $1.30;  One  Gal.  Set.  51-95. 

8;:  GENERA  MOVETONE  16!: 

LOAD  YOUR  OWN  SPOOLS  and  Save  Money 

A  FINE  GRAIN  REVERSIBLE  OUTDOOR  Nofi-Halo  Film. 

Use  in  C:ne  Kodaks.  Victor.  Keystone.  Revere.  Univex.  E^tc. 
100  ft.  double  8.  laJt>o*'atory  packmg  scored  .  .SI. 95 
100  ft.  straight  a  for  Univex  and  Keystone.  .  .51-15 
AOO  ft  double  8  rnm,  scored  for  separation.  ,  .56.35 
400  ft-  16  mm  in  400-foot  reel  container.  .  .  .54.95 
Write  for  Big  Bargain  Circulars,  our  processing  prices. 

FROMADER  GENERA  COMPANY,  Davenport,  la. 


^^NEW  in  16mm.  SOUND=- 

BING  CROSBY  in 

"Dream   House"   and   "Billboard  Girl" 

Andy  Clyde  and  Harry  Gribbon 
Edward  Everett  Horton 

Sis  :f  this  c^^mediai  s  best  tsto  reelers 

FOUR  ONE  REEL  CAMEO  SLAPSTICK 
COMEDIES 

All  the  aboTe  sohjects  at  the  following 
Speciel  Prices : 

Two  reel  subjetts  $40  One  reel  subjects  520 

ASTOR  PICTURES  CORP. 

130  W.  46th  Street  Ne»  York.  N.  Y. 


CORONA 


BETTER 
BULK 
FILMS 

SAME  PRICE  FOR  I6MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES     DO     NOT     INCLUDE  PROCESSING. 


CORONA-PAN   

ORTHOCHROMATIC 
SEMI-ORTHO   


SPEED 

  24-18 

__  12-4 
 12-  4 


100  Ft.  400  Ft. 

$3.15  $11.60 

1.73  6. GO 

1. 3D  4.25 


MACHINE  REVERSAL  P ROCESSI N G— Double  8 
or  I6mm — 100  ft.,  85«:  50  ft..  65<;  25  ft..  50*. 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

FREE  BOOKLET  ob  b««e  precessini  instructians, 
plans  and  fsraulae  with  orders. 
Single  espies.  I5< 

CORONA  FILM  LABORATORIES 

liKS  XEW  YORK  .WE.      BROOKLYN.  N.  T. 


AT  YOUR    FAVORITE    CAMERA  STORE 


ALL-REDY 
TRIPOD 


HEAD 


A  slight  turn  of  the  tilt  arm 
locks  both  tilt  and  pan  action! 


WESTERN  MOVIE  SUPPLY  CO.  254  Sutler  St.,  Son  Francisco 


Kodachrome 

MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 

I197A    Merchandkse   Mart,  Chicago 


TRIAL 


OFFER 


6  Capsules      ^^i^^  HURRY! 

:  -i  f  F  t  Tintins  }-l  -:iS        s^-i        T  JiT. 

for  25c       i""^  3.5mm.  Shies  Offer  Lie  1  ted. 

MANSFIELD    PHOTO    RESEARCH  LABORATORIES 

I'itt  mi  -  Li -;::e  St..  cti^;  ::: 


remains  about  the  same  but  the  scene 
changes,  a  lap  dissolve  is  the  effect  to 
use.  If  the  tempo  is  fast  and  the  two 
sequences  are  somewhat  related,  the 
wipe  effect  can  be  used.  Titles  can  also 
be  used  to  bridge  action  from  one  se- 
quence to  the  next.  A  carefully  worded 
title,  referring  to  the  sequence  just  con- 
cluded and  then  referring  to  the  one 
about  to  begin  can  smooth  an  otherwise 
bad  break.  Such  titles  often  are  written 
in  a  manner  that  compares  or  contrasts 
the  two  sequences. 

Unless  the  series  are  very  dissimilar 
and  the  change  in  time  element  great,  a 
connecting  scene  is,  perhaps,  the  best 
and  easiest  bridging  medium  for  the 
amateur  to  achieve.  One  or  two  short 
shots,  well  planned  and  executed,  will 
smoothlv  connect  even  the  remotest  of 


unrelated  sequences  satisfactorily. 

^'hen  these  connecting  scenes  can  be 
filmed  at  any  time,  most  filmers  prefer 
to  edit  their  film  first,  then  study  it 
to  determine  what  kind  of  a  connecting 
shot  would  best  serve  the  purpose, 
^'hen  written  out  before  filming  be- 
gins, the  sequences  can  be  filmed  to 
come  together  evenly.  Sometimes  an 
idea  will  present  itself  as  the  filming 
is  taking  place.  Then  again,  it  is  not 
until  the  editor  has  screened  the  film 
six  or  seven  times  that  he  gets  a  good 
idea  for  the  connecting  link. 

But  regardless  of  the  methods  used 
in  editing  sequences,  the  continuity 
achieved  repays  in  a  clearer  film,  a  more 
enjoyable  presentation,  and  the  feeling 
that  a  more  professional  job  has  been 
accomplished. 


^JUmLn^  yiellowHone  Park  . 


•  Continued  from  Page  2}  ; 

I've  filmed  Yellowstone  over  and  over 
from  one  boundar)'  to  the  other.  But 
there  is  no  reason  why  ever\'  movie  am- 
ateur should  have  to  do  the  same.  Few 
are  ever  fortunate  to  return  to  recap- 
ture shots  "muffed"  the  first  time,  and 
so,  for  those  fortunate  vacationists  who 
will  brave  the  rationing  of  tires  and 
gasoline  this  summer  to  visit  Yellow- 
stone. I'll  set  down  here  as  a  guide  in- 
formation I  have  acquired  in  filming 
this  famed  National  park. 

First  of  all  obtain  a  Haynes  Guide 
tc  Yellowstone  on  entering  the  park. 
This  little  book  is  an  authoritative 
guide  to  the  park  and  will  help  mate- 
rially in  aiding  you  find  your  way 
around. 

First  thing  to  remember  is  the  alti- 
tude. You  will  be  from  5,000  to  10,- 
000  feet  "up,"  which  means  the  sim's 
rays  are  more  brilliant  at  this  height. 
So  cut  down  your  exposure  proportion- 
ally. The  difference  might  not  be  great 
in  some  instances — when  you're  shoot- 
ing dark  objects  or  when  in  the  shade 
— but  watch  it  when  shooting  in  direct 
sunlight. 

Plan  to  spend  at  least  three  days  in 
Yellowstone.  Three  days  are  really  re- 
quired to  "see"  the  park,  and  if  you're 
taking  many  movies  you'll  find  yourself 
wondering  where  the  time  went.  Even 
a  week  passes  all  too  quickly.  I've  spent 
two  summers  there  and  still  have  things 
to  see  and  shots  I  want  to  make. 

The  four  greatest  points  of  interest 
are:  Y'ellowstone  Lake.  Old  Faithful 
Geyser.  Mammoth  Hot  Springs,  and 
the  Grand  Canyon  of  the  Y'ellowstone 
River. 

But  these  four  places  are  not  the 
only  ones  at  which  you'll  want  to  stop 
or  film.  The  Grand  Loop  road  takes 
one  past  many  other  points  of  interest 


just  begging  to  be  filmed.  Just  a  few 
are:  Fishing  Bridge,  Keppler  Cascades, 
^est  Thumb  on  Y'ellowstone  Lake,  the 
different  geyser  basins.  Tower  Falls, 
and  others  too  numerous  to  mention. 

But  let's  make  a  short,  e.xperimental 
tour  of  the  park  and  note  what  there 
is  to  watch  for.  Let's  say  we  come  into 
Yellowstone  by  the  East  Entrance.  Fish- 
ing Bridge  will  be  our  first  stopping 
place,  ^"e'll  have  ample  opportunity 
for  getting  shots  of  happy  fishermen 
at  this  spot — also  of  less  happy  fish. 

Of  course  we'll  want  shots  of  the 
lake  itself  while  we're  there.  Vith  Ko- 
dachrome, a  haze  filter  is  advisable.  And 
don't  forget  that  when  photographing 
a  large  expanse  of  water,  it's  a  good 
idea  to  cut  down  exposure  and  to  use 
trees,  shrubs,  or  people  in  the  fore- 
ground to  add  animation  and  distance 
to  such  shots. 

Soon  after  leaving  West  Thumb,  we 
come  to  the  world-famous  Old  Faith- 
ful. This  area,  known  as  the  Upper 
Geyser  Basin,  is  the  most  important 
thermal  region  in  the  park.  Here  are 
the  most  important  of  the  park's  two 
hundred  geysers,  hot  pools,  springs, 
etc.  It  is  important  to  remember  that 
hot  pools,  being  well  above  the  boiling 
point,  give  off  much  more  steam  and 
vapor  in  the  cool  mornings  than  in  the 
afternoons  when  it  is  warmer.  It  is  a 
good  idea,  therefore,  to  shoot  geysers 
in  the  morning,  when  the  sun's  rays  are 
obhque  and  strike  the  risin?  columns  of 
water  at  the  side;  and  to  film  the  pools 
at  noon  or  shortly  after.  With  the  lar- 
ger pools  use  a  wide-angle  lens  if  pos- 
sible and  combine  these  shots  with  close- 
ups  taken  with  your  standard  lens.  If 
you  back  away  to  include  the  whole 
pool,  you'll  find  ver\-  little  of  the  p)Ool 


ORDER  FOR  SUBSCRIPTION 

Home  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,  $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Years  for  $4.00  in  the  U.  S. 

HOME  MOVIES 
6060  Sunset  Blvd. 
Hollywood,  Calif. 

1.  Send  to  

Address  

City  State  

□  New  □  Renewal  □  Gift 

2.  Send  to  


Address. 


NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  JUNE 


PACE  249 


OFFICIAL  FILMS 

SPORT  BEAMS 

FOR  ALL 
SPORTSMEN  and  SPORT  FANS 


showing  in  the  picture  when  it  is 
screened.  I  always  thought  it  would  be 
a  marvelous  thing  to  take  along  a  step- 
ladder  that  would  enable  me  to  shoot 
down  ufxjn  the  pools,  but  it  "just  ain't 
practical." 

All  of  the  important  geysers  and 
pools  are  named,  and  signs  giving  names 
and  relevant  interesting  information  are 
close  by.  Use  the  signs  for  the  opening 
shots  of  your  sequences  of  the  various 
geysers.  They  are  usually  in  such  a  po- 
sition that  they  can  be  shot  in  the  fore- 
ground with  the  geyser  itself  in  the 
background.  Get  near  the  ground  and 
shoot  up  when  filming  geyser  eruptions. 
It  adds  to  their  height  and  the  brilliant 
water  column,  the  spray,  and  the  hol- 
lowing clouds  of  steam  will  stand  out 
against  the  deep  blue  sky. 

And  while  we're  talking  about  the 
spray — be  sure  none  of  it  falls  on  your 
lens.  If  any  spray  should  happen  to  get 
on  lens  or  filter,  wipe  it  off  immediate- 
ly. If  allowed  to  dn.-,  chemicals  in  the 
water  may  etch  permanent  spots  on  the 
glass. 

Having  mentioned  the  deep,  blue  sky, 
I  am  reminded  of  the  clouds.  Make  a 
point  to  film  beautiful  cloud  forma- 
tions as  soon  as  they  appear.  Cher 
mountainous  countn.%  clouds  travel 
much  faster  than  at  lower  levels  and 
may  disappear  entirely  in  a  few  hours. 

The  best  vantage  point  of  this  area 
is  Observation  Point  where  one  can  set 


fine  panorama  shots  of  Old  Faithful 
Village,  Old  Faithful  itself,  and  the  Up- 
per Geyser  Basin,  all  in  one  grand  sweep. 
It's  a  short  hike  part-way  up  the  side 
of  a  mountain,  but  you  will  be  well  re- 
warded for  your  effort. 

Continuing  northward  from  Old 
Faithful,  we  finally  arrive  at  Mammoth 
Hot  Springs.  Along  the  way  are  many 
other  points  of  interest:  Midway  and 
Lower  Geyser  Basins,  Norris  Geyser  Ba- 
sin, and  Obsidian  Cliff,  just  to  men- 
tion a  few. 

\rhile  we're  en  route,  we  must  not 
overlook  the  many  opportunities  that 
occur  for  getting  shots  of  animals. 
Black  and  grizzly  bears  are  frequently 
seen  along  the  roads  and  in  the  forests 
close  by  the  roads.  Keep  a  sharp  look- 
out for  them  and  keep  your  camera 
ready,  but  don't  get  too  close  when 
photographing  them.  This  will  be  firm- 
ly impressed  upon  you  by  signs  and  by 
the  rangers  as  soon  as  you  are  in  the 
park.  There  have  been  many  unneces- 
sary' accidents  because  some  visitors  be- 
lieved the  bears  to  be  tame.  They  defi- 
nitely are  not  tame  and  the  best  way  to 
film  them  is  to  use  a  telephoto  lens  and 
stand  back! 

Look  for  moose,  elk,  antelope,  and 
deer.  There's  a  better  chance  of  shoot- 
ing these  animals  early  in  the  morning 
as  they  usually  retire  into  the  shade  of 
the  forest  during  the  day.  Rocky  Moun- 
tain sheep  and  many  small  animals 
such  as  beaver  are  also  to  be  found. 


For  the 
movie 
of  the 
year  .  . 


The  Lloyd  Bacon  Trophy  is 
probably  the  greatest  award 
that  can  come  to  any  amateur 
movie  maker.  Its  the  top  prize 
cinefilmers  are  shooting  for  in 
Home  Movies"  1 942  Annual 
Amateur  Contest. 


•  Only  four  month's  remain  to  complete  contest  pictures.  •  Contest  open 
to  every  movie  amateur,  8mm.  or  16mm.     •  No  limit  to  length  of  picture. 

•  Competition  closes  September  30th.  1942.     •   17  trophy  awards  in  all. 

•  Register  entry  as  soon  as  completed — don't  wait  for  last  week  of  contest! 

HOME  MOVIES 

HOLLYWOOD 


Smm. — 16mm. 

Silent  or  Sound 
Shorts  or 
FeatHrcs 


Add  these  thrill-laden,  }am-packed-with- 
action  sport  films  to  your  Home  Movie 
Library. 

•  MONARCHS  OF  THE  RING— A  Cav- 
alcade of  the  greatest  boxers  .  .  .  from 
Jack  Dempsey  to  Joe  Louis. 

•  BLUE  BLOODS— Turf  thrills  ...  at  Pim- 
lico,  Grand  National  and  the  Hamble< 
tonian. 

•  FOLLOW  THRU  — Jimmy  Thompson, 
Dick  Metr  and  Horton  Smith  demonstrate 
what  makes  golf  champs. 

•  AWAY  WITH  THE  WIND— A  salty  saga 
of  the  sea  .  .  .  from  sail  to  diesel  power. 

•  UNDERWATER  CHAMPIONS— An  un- 
der water  circus  of  aquatic  sports. 

•  ON  THE  TRAIL— Dude-ranching  in  the 
Rockies. 

ORDER  FROM  YOUR  DEALER  TODAY! 

8mm.—  50  ft.— Short   JI.7S 

8mm.— IM  ft.— Feature..  -   5.50 

Itmm  — IOC  ft.— Short     7JS 

16mm. — 340  ft. — Feature.  _  .  8.75 

14mm. — 350  ft. — Sound-on-Film   17.50 


WRITE  FOR  COMPim  CAUIOCUC 


:  j  OfHCIAIfUMS 


425  P    FOURTH  AVL,  NEW  YOm 


The  Price  is  Soon  Forgotten 
But  the  Quality  NEVER 

QUALITY  OUTDOOR  jfiCM^O 
WESTON -12  »»£OU 

Per  1  CO  Feet  1  6mm  

No.  1  Pan — Wcsh)n-16-12. ...  .$3.75 

No.  2  Pan — Wesh)n-32-20   4.00 

No.  3  Pan — Weston-80-40   4.50 

PROCESSrVG  ENCLtDED 

OWEN  LABORATORY 


2819  E.  ANAHEIM  ST. 


LONG  BEACH.  CALIF. 


MACK 
Wide  Angle 
LENS 

for  Smm.  Cameras! 

DOUBLES  Width  of 
Field  Covered! 
Screws   in    FRONT   of   Regular  Lens 
Precise  Focusing  From  2  Ft.  to  Infinity! 

Ideally  suited  to  color  or  black. and-«hite. 

Models  are  available  for  most  aU  regular 
Smm.  movie  camera  lenses.  LIST  ^ . 

PRICE,  incladins  excise  tax  922.00 

MACK    OPTICAL  CO. 

ENCINITAS  CALIFORNIA 


PACE  250 


HOME  MOVIES  FOR  JUNE 


You  don't  need  to 
be  an  EXPERT  bar- 
gainer to  do  business 
with  me.  ...  I'm  most 
liberal  on  trade-ins 
.  .  .  and  positively  lav- 
ish on  outright  cash 
purchases  ...  so  come 
in  to  trade  or  to  SELL. 

BOLEX  PRICES 

NOW    you    can    own  an  

BOLEX  camera,  formerly  $283  (without  lens) 

tor    only   $191. ?0 

16mm.   BOLEX  with   1-inch  Wollensak  F:l.5 

lens,    focussing    mount — new   $235  00 

8mm.  BOLEX  with  l2'/2mm.  Wollensak  F:l  9 

lens,     only  $228.00 

Carrying   case   for  either   $39.50 

Free  Bass  Cine  Bargaingram  and 
supplemental  price  list. 

Write  Dept.  HM 


REDUCED 

dmm.    or  16mm. 


CUT  HOME  MOVIE  COSTS 

with  BLACK  and  WHITE  fine 
grain  Semi-Orthochromatic  Re- 
versible Film  tor  finest  results — 
lowest  cost. 

16mm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $2.50 

Rating  Scheiner  18 

8mm.  Reversible  Outdoor  Film 

25  ft.  Double  8,  only  $1.25 


BldiMhiiP 


Same     day     processing  in- 
cluded.   Ask  your  dealer  or 
send  money  direct. 

Write  for  prices  for  develop- 
ing and  processing  for  8mm. 
and     16mm.     films  bought 
elsewhere. 


VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  Broadway,         Dept.  12         Brooklyn.  N.  Y. 


Because  of  the  defense  situ- 
ation we  have  discontinued 
turret  installations.  We  will 
continue  to  install  backwinds 
on  Eastman  and  Filmo  8mm. 
cameras  only. 

Investigate  our  movie  du- 
plicating service  either  black 
and  white,  or  Kodachrome. 

MACVAN   MFG.  CO. 

3829  El  Caion  Blvd.       San  Diego,  Calif. 


8mm.  -  16mm.  Sound  -  Silent 


HOMOV/fS 
ON  T/Mf/ 


Build  a  Private  Home  Li- 
brary of  Defense  Films, 
Features,  Sports,  Historic 
Newsreels,  Musical  Spe- 
cialties on  Easy  Terms.  $75  In  films  on  outright  pur- 
chase: Only  $1.50  weekly.  ALSO:  Largest  Rental 
Library,   lowest  rates,  nation-wide  service. 

EQUIPMENT  DEPARTMENT 

I6mm.  Sound-Silent,  Movie  &  Still  Cameras,  acces- 
sories. Large  stock,  low  prices,  easy  terms. 

A  National  Institution 
55  West  48th  St..  N.  Y. 


M  O  G  U  L  L  '  S 


8 ENLARGED    «  ^ 
TO  ID 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
II97-A  MERCHANDISE  MART 
CHICAGO 


which  pretty  well  covers  the  fauna.  For 
lovers  of  the  flora,  there  are  over  six 
hundred  species  of  wild  flowers  to  be 
photographed  in  the  park. 

Proceeding  to  Mammoth  Hot  Springs, 
cinefilmers  will  find  a  wide-angle  lens 
handy  for  opening  shots  of  the  ter- 
races and  pools,  the  narrowing  the 
views  down  to  one  or  two  pools  of  es- 
pecial interest  with  a  regular  or  tele- 
photo  lens. 

There's  no  time  like  the  present  to 
remind  movie  amateurs  to  keep  the  hu- 
man element  alive  in  all  of  outdoor 
shots.  Don't  take  movies  of  things  that 
don't  move  without  adding  a  person  or 
an  animal  or  swaying  flowers  and 
grasses.  Get  down  on  the  ground  occa- 
sionally and  use  flowers,  grasses  or 
shrubs  as  the  moving  part  of  the  pic- 
ture, as  foreground  or  for  framing. 

Leaving  Mammoth,  we  continue 
around  the  Grand  Loop  to  the  Grand 
Canyon.  Between  these  points  is  Tower 
Falls.  This  falls  is  situated  so  it  gets 
the  best  light  in  the  morning.  There  is 
Mount  Washburn,  10,317  feet  high 
and  offering  an  unparalleled  view  of 
the  Grand  Canyon  and  the  whole  ad- 
jacent portion  of  the  park.  Your  haze 
filter  should  be  used  here  and  exposure 
carefully  calculated. 

Grand  Canyon  is  probably  the  most 
awe-inspiring  sight  the  park  has  to  of- 
fer. The  Lower  Falls  of  the  Yellowstone 
River  drops  from  a  height  greater  than 
that  of  Niagara  into  a  gorge  over  a 
thousand  feet  deep.  The  best  vantage- 
point  for  a  picture  is  Artist's  Point, 


and  the  first  or  "opening"  shot  should 
be  made  from  here.  Other  camera  loca- 
cations  are  Inspiration  and  Moran 
Points. 

Don't  neglect  descending  to  the  bot- 
tom of  the  gorge  by  way  of  Uncle 
Tom's  Trail.  This  trail  brings  one  to 
the  foot  of  Lower  Falls  and  the  most 
striking  shots  may  be  made  from  there. 
About  half  way  down  the  trail  near  a 
sign  facing  the  falls,  the  cameraist  is 
afforded  opportunity  for  a  fine  opening 
shot  of  the  falls  or  of  the  whole  Can- 
yon sequence. 

Best  time  to  shoot  the  Canyon  is  in 
late  morning,  when  the  sun  is  almost 
directly  above.  Shortly  after  noon,  as 
the  gorge  runs  in  rather  a  north-east  di- 
rection, the  west  wall  of  the  chasm  be- 
comes shaded.  Also,  late  in  the  season 
after  August,  it  is  impossible  to  get  full 
illumination  on  the  Grand  Canyon,  as 
the  sun  is  too  far  south. 

There  are  other  aspects,  too,  that  in- 
dicate the  advisability  of  filming  the 
park  earlier  in  the  season.  In  the  early 
summer  the  air  is  still  fresh  and  clear — 
not  laden  with  dust,  pollen,  and  smoke. 
The  falls  are  more  beautiful,  vegetation 
greener,  and  the  flowers  are,  perhaps, 
more  abundant  in  the  early  summer. 
The  period  of  greatest  travel  in  Yellow- 
stone is  from  July  15  to  August  15.  So 
travel  early  and  avoid  the  heavy  traffic 
of  late  summer  months. 

One  important  thing  to  remember  is 
not  to  make  your  trip  too  brief.  Good 
films  will  make  the  extra  day  or  two 
spent  in  the  park  this  summer  worth 
while  in  years  to  come! 


3ilm  tkeie  trick  e^ecti  .  .  . 


•  Continued  from  Page  2}) 

desert,  it  is  merely  necessary  to  give  a 
jagged  edge  to  the  brown  paper  back- 
ground and  add  some  dabs  of  paint  to 
suggest  distant  mountains,  seen  over  a 
stretch  of  blistering  sand.  The  addition 
of  oriental  headgear  for  the  principal 
actor,  is  all  that  is  necessary  to  com- 
plete the  illusion. 

Readers  may  remember  that  previous- 
ly mentioned  was  a  black  backdrop  as 
being  an  essential  part  of  the  equipment 
in  the  cameraman's  magic  box.  This 
may  be  used  when  a  nondescript,  neu- 
tral background  is  required,  such  as  the 
"mountains"  in  Fig.  3.  It  is  hung  up 
against  a  convenient  wall  and  draped 
in  such  a  way  that  the  folds  and  wrin- 
kles suggest  the  sweeping  sides  of  the 
mountains.  Some  more  drapes  over  boxes 
and  the  household  step  ladder  will  pro- 
vide "rocks"  over  which  the  juvenile 
actors  may  climb.  Ragged  foreground 
rocks  are  cardboard  cutouts  fixed  to 
Stage  C;  the  "sky"  and  jagged  moun- 
tain peaks  are  formed  by  similar  cut- 


outs in  white  drafting  paper.  Moun- 
tain "mist"  can  be  added  by  allowing 
the  steam  from  a  boiling  kettle  to  waft 
across  the  scene,  a  few  feet  in  front  of 
the  camera.  Do  not  forget  that  the 
actors  can  be  made  to  climb  impossible 
precipices  by  turning  the  camera  and 
frame  on  its  side,  photographing  the 
actors  clambering  horizontally,  on  their 
"tumimes"  over  the  rocks. 

Another  use  of  the  black  backdrop 
is  shown  in  Fig.  4.  Here,  double  expos- 
ure is  employed,  the  action  being  pho- 
tographed in  front  of  the  neutral  back- 
ground which  has  no  effect  on  the  film 
emulsion,  the  set  being  added  by  a  sec- 
ond exposure  on  a  model.  The  black 
backcloth  is  set  up  and  the  picture 
area  restricted  to  the  required  limits  by 
means  of  a  "High  Diffusion"  mask 
mounted  on  Stage  A.  This,  in  turn, 
limits  the  dimensions  required  for  the 
backdrop,  and  brings  it  down  to  a  rea- 
sonable  size.   Foreground   "rocks"  are 


HOME  MOVIES  FOR  JUNE 


PACE  251 


added  and  after  suitable  rehearsal  dur- 
ing which  the  limits  of  movement  are 
defined  by  direct  observation  through 
the  "Sight,"  the  action  is  shot.  The 
film  is  then  rewound.  The  model  set  is 
mounted  on  Stage  C  and  checked  for 
position  by  observation.  When  ail  is 
correct,  the  second  exposure  is  run  off, 
the  resulting  combination  of  the  two 
exposures  being  shown  in  Fig.  4. 

Use  is  again  made  of  the  black  back- 
cloth  in  the  effect  produced  in  Fig.  5. 
In  this  case,  the  model  set  acts  as  a  mask 
as  well.  The  castle  walls  are  painted  in 
black  "poster"  color  on  stiff  drafting 
paper  and  the  archway  opening  cut  out. 
The  scene  is  pinned  to  Stage  C  and  the 
whole  Frame  covered  with  a  black  cloth 
to  keep  out  all  light.  The  Frame  is  then 
set  up  and  directed  on  the  black  back- 
drop in  such  a  way  that  the  archway 
opening  is  covered  by  it.  The  limits  of 
movement  for  the  actors  are  fixed  as  be- 
fore, by  direct  observation,  being  con- 
fined, of  course,  to  the  limits  imposed 
by  the  "archway"  mask.  The  first  ex- 
posure is  then  made,  the  actors  appear- 
ing in  the  center  of  the  opening,  walk- 
ink  away  from  the  camera  and  off  to 
the  side,  until  they  disappear  beyond 
the  limits  of  the  mask.  The  black  cloth 
cover  is  removed  from  the  Frame,  the 
focus  adjusted  and  after  rewinding  the 
film,  the  second  exposure  is  run  off  on 
the  miniature  set.  In  the  final  combina- 
tion of  the  two  exposures,  the  actors 
will,  of  course,  appear  to  walk  through 
the  archway,  disappearing  from  view 
as  they  pass  through  on  the  other  side. 

Another  variation  on  the  neutral 
background  is  shown  in  Fig.  6.  This 
time,  it  is  white.  A  "High  Diffusion" 
mask,  with  a  cloud  shaped  opening  is 
fitted  into  the  mount  on  Stage  A.  If 
genuine  rocks  are  not  available,  then 
artificial  ones  are  made  by  drapes  laid 
over  a  collection  of  boxes.  These  are 
arranged  to  appear  at  the  bottom  of  the 
opening  and  if  a  low  camera  position  is 
chosen,  the  sky  will  form  the  necessary 
white  background.  Alternatively,  a 
large  white  backcloth,  or  white  washed 
wall  may  be  used.  The  first  exposure 
is  made,  showing  the  two  children 
climbing  up  onto  the  rocks,  over  them, 
and  dropping  down,  out  of  sight,  on 
the  far  side,  the  action  being  confined, 
of  course,  to  the  limits  of  the  opening 
in  the  mask.  The  reverse  mask  is  then 
inserted  in  Stage  A,  and  after  rewinding 
and  adjusting  the  focus,  the  second 
exposure  is  run  off  on  the  miniature 
scene  of  the  Fairy  Castle,  painted  in 
water  color  on  stiff  drafting  paper  and 
set  up  on  Stage  C. 

The  airplane  shot  in  Fig.  7  is  a 
special  application  of  the  foreground 
model.  It  occurs  in  a  film  of  fantasy, 
in  which  the  smaller  members  of  the 
family  climb  aboard  a  toy  airplane  and 
are  pursued  by  goblins,  mounted  astride 


a  swarm  of  angry  bumble  bees.  Cross 
cutting  from  pursuer  to  pursued  builds 
up  the  excitement  in  the  traditional 
manner  of  the  film  chase. 

In  this  particular  case,  the  Frame 
was  mounted  on  two  rockers  and  set  up 
on  a  table.  The  pursuit  planes,  tiny  cut- 
outs, were  pasted  onto  a  sheet  of  glass 
which  was  slipped  into  the  mount  on 
Stage  B.  The  airplane  foreground  model 
was  set  up  on  the  table,  just  clear  of 
Stage  C  and  not  attached  in  any  way 
to  the  Frame  itself.  The  juvenile  pilot 
stood  on  the  seat  of  a  chair,  gripping 
the  back  with  his  hands,  the  chair  be- 
ing lined  up  with  the  camera  and  model 
so  that  his  head  appeared  to  be  above 
the  cockpit  of  the  plane.  The  back- 
ground may  be  either  natural  sky  or  a 
white  backdrop.  The  camera  was  set 
running,  the  pilot  glancing  back  over 
his  shoulder  at  the  pursuit  planes.  Mean- 
while, at  intervals,  the  whole  Frame 
was  rocked  from  side  to  side  by  means 
of  the  rockers,  previously  mentioned. 
This  results  in  the  airplane  banking  in 
a  realistic  manner.  The  pursuit  planes, 
being  in  a  fixed  position  relative  to  the 
camera,  obviously  retain  their  position 
in  the  background.  Rocking  the  cam- 
era avoids  complication  of  the  model 
and  the  actor  can  stay  in  his  confined 
position  without  undue  difficulty. 

As  already  pointed  out,  these  trick 
shots  must  be  short  and  well  mixed 
with  straight  shots,  otherwise  the  trick- 
ery may  become  all  too  obvious.  The 
conclusion  of  this  film  may  serve  to 
illustrate  the  point. 

The  climax  is  reached  when  the  gaso- 
line gives  out  and  the  children  decide  to 
jump  for  it  in  their  parachutes.  A  very 
simple  set  constructed  of  plywood 
showing  a  bit  of  fuselage  and  a  cock- 
pit, broadside  on,  was  fixed  up  on  a 
table  with  the  sky  for  a  background, 
using  a  low  angle  for  the  camera.  The 
children  climb  out  of  the  cockpit  and 
jump.  The  children  were  then  suspend- 
ed in  turn  from  a  harness  made  of  light 
rope  and  slung  from  the  garage  door- 
way. Shooting  from  inside  the  garage, 
a  sky  background  was  again  obtained. 
By  rocking  the  camera  very  slightly, 
close-ups  of  the  two  children  dangling 
and  swaying  at  the  ends  of  their  para- 
chutes were  successfully  achieved.  These 
closeups  were  intercut  with  a  number 
of  shots  of  tiny  model  parachutes  filmed 
in  slow  motion  while  they  were  in  full 
flight  after  having  been  thrown  from 
a  first  floor  window.  The  parachutes 
reach  the  earth  and  a  close-up  fol- 
lows showing  the  children  struggling 
out  of  the  enveloping  folds  of  a  white 
bed  sheet  representing  the  parachute  it- 
self. 

A  dissolve  was  wanted  here,  but  was 
too  difficult  for  a  simple  camera.  The 
camera  was  therefore  tracked  forward 
until  the  whole  picture  area  was  a  mass 


nno  moviE  rcccmorks 
COT  a  loi 


ORKS  y 


1942 


GET  THIS  FREE  BOOK!  Every  Home 
Movie  Fan  Should  Have  It  .  .  .  Brand  New  .  .  . 
just  out  I  Chuck  full  from  cover  to  cover  with 
the  choicest  bargains  you  ever  heard  of  .  .  . 
Including  ESSCO  double  8mm  and  16mm  HOME 
MOVIE  FILM  as  low  as  $1.00  per  Roll,  including 
Processing. 

Also  Bulk  Film,  processing  rates,  etc.  Dozens  of 
daily  needed  items  and  accessories,  screens,  reels, 
titlers,  etc..  Including  BIG  NEW  LIST  of  166 
FILM  SUBJECTS,  glamour  films,  cartoons,  west- 
erns, historical,  adventure  and  sports  films  for 
8mm  and  16mm  projectors. 

SEND  FOR  THIS  FREE  BOOK  TODAT 
Keep   it  for   ready   reference.   Your   name  on 
a  postcard  brings  it  by  return  mail  FREE! 


&Uca  ^dm  Pncdi4cti 

6117  S.Campbell  Av.QSn  Chicago 


^^^^^  ^.Kir 
HOVELTiES 


Minute    Musical  Playlets 

Produced  by  Associated  Producers  Distributing, 
Inc.  From  Hollywood  to  your  home,  club  or  lodge, 
unforgettable  tunes  that  are  always  fresh,  pre- 
sented in  a  novel  way.  Sung  by  top-flight  Radio 
and  Stage  Stars  surrounded  by  a  bevy  of  beauti- 
ful girls.  These  unusual  musical  shorts  will  pep 
up  your  program  and  make  your  evening  a  sure- 
fire success. 

Gertrude  Niesen  in  OH  JOHNNY  singing  in  her 
own  inimitable  w;i.v,  as  Bonny  Itaker,  and  cli- 
maxinf  it  with  a  rendering  a  la  Mae  West. 
TROPIC  SWINGEROO— A  Hawaiian  surprise  of 
songs  and  dances — with  Andy  lona  Orchestra. 
SAY  SI -SI — Tlie  popidar  hit  song  as  rendered  by 
an  American  couple.  Dutch,  Russian  and  Italian. 
WHEN  YOU'RE  NEAR  ME— delivered  by  those 
two  popular  songbirds,  Vyola  Vonn  and  Gene 
Gr(tunds. 

RUDY  VALLEE  doing  the  popular  song  LYDIA. 
LOVE  SONGS  OF  RINALDO  — A  Spanish 
Troubailoui  sings  iove  songs  to  his  maiden  fair. 

P  L  A  Y  M  A  T  ES  — Gills  and  Hoys  frolicking 
through  the  song. 

OH  SUSANNA — Stephen  Foster's  immortal  song 
sung  as  it  shoul<l  by  a  group  of  early  American 
pioneers. 

THE  GOLFER'S  LAMENT— A  comic  travesty 
on  the  well-known  golf  dud. 

SHADRACK— The    Shadiaik    tioys    doing  their 


stuff. 

G  E  0  R  G  I 

beating  it  out. 


P  0  R  G  I  E  — Cullcgiate  jitterbugs 


THE  MAN  WHO  COMES  AROUND— A  musical 
fun-fest  with  tlie  outstanding  performer,  Char- 
maine. 

Price  $9.00  per  subject.  Write  todSy  for  further 
information. 

Sole  Distributor 

Pictorial   Film    Library,  inc. 

1270  Sixth  Avenue  New  York  City 


PAGE  252 


HOME  MOVIES  FOR  JUNE 


8mm.  —  FILM  —  16mm. 
"AMBERTINT" 

Finegrain,  semi-ortho,  wide  latitude.  Ideal  out- 
door film.  Slight  amber  tint.  Improves  bril- 
liance. 

8mm.  25  ft  $1.25  14mm.  100  ft  $2.50 

"OUTDOOR" 

Finegrain,  semi-ortho,  wide  latitude.  Plenty  of 
speed  with  f  3.5  lens.  A  real  outdoor  film. 

8mm.  25  ft.  $1.25  16mm.  100  ft  $2.50 

Above  Prices  Include  Machine  Processing 
"No  Dunking" 

HOLLYWOODLAND  STUDIOS 

9320  California  Avenue  South  Gate.  California 


For  Fun  and  Relaxation 
Make  Home  Movie  Titles 

in  6  Vivid  Colors  or  Black  or  Whil^e 

You  will  have  the  time  of  your  life — pleasure  packed 
hours  at  your  tiobby — with  America's  finest  Color 
Title  Maker,  You  can  harmonize  colors  and  tailor 
your  titles  to  your  own  individual  taste.  For  easy 
efficiency  and  beauty.  A-to-Z  is  a  triumph  of  mod- 
ern design.  Anyone  can  do  it.  Be  thrifty,  buy 

A-to-Z    COLOR    TITLE  OUTFIT 

Only  $6.50  complete 

Contents:  6  jars  of  brilliant  colors;  10  sheets  of 
acetate:  10  backgrounds;  12  script  alphabets;  Nu- 
merals; 1600  Initials;  30  Figurettes;  Special  Title 
Frame;  Distance  Chart  and  simple  instructions. 
FREE-Sample  Title  Kit — Try  our  easy  method-FREE 
Buy  A-to-Z  at  your  dealer  or  send  $6.50  direct. 

A-to-Z  MOVIE  ACCESSORIES 

175  Fifth  Avenue         Dept.  H38         New  York.  N.  Y. 


THE  BEST  IN  ISmm! 

Hollywood's  Greatest  Productions 
Featuring  Hollywood's  Greatest  Start 

;  COMMONWEALTH  \ 
RENTAL  UBRARY 


<  in  16mni.  Sound  ' 

(      ALSO:  FeaturaNm,  cemadiM,  cartoons. 
^  serials,  miscellaneous  short  subjects. 

Write  for  FREE  CATALOG /-V^-V 

COMMONWEALTH  PICTURES  CORP. 

739  SEVENTH  AVE.  NEW  YOIK,  N.  Y. 


Buy  from  Byron's,  Washington 

SAVE  MONEY 

on    all    MOVIE  Equipment 


;We  carry  a  full  stock  of:; 
all  nationally  advertised 
movie  cameras  and  equip- 
ment. We  don't  have  ex- 
pensive price  catalogues, 
.  .  .  but  whatever  you 
need,  write  us  and  we'll 
quote  you  the  lowest 
prices. 


One  of  the 
Leading 
Motion  Picture 
Producers  in 
the  East 


Dept.  JUNE  H.M, 

BYRON'S,  Inc.  ''^^ 


Washington,  D.  C. 


Notice  to  Movie  Fans 

If  you  take  movies  fSmm  or  16mm)  you  atmply  cannot 
afford  to  t>e  without  a  Free  copy  of  the  ljit«st  Photo  Bar- 
Cain  Boole  now  being  distributed  throughout  the  U.  fi. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading  manufacturers,  describes  them.  The  prices 
save  you  money  In  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
titlers.  editing  outfits,  tripods,  books  on  editing, 
titling,  etc.  This  Bargain  Book  is  Invaluable  to  you  as 
an  equiprrent  REFERENCE  book.  Don't  wait  a  day 
longer  to   send   for  your  Free   copy.   Write   us  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  F-9  Chicago,  Illinois 


PB  MOVIE  KIT  for  COLORFILM 

$4.75  COMPLETE 

1  PB  Lens  Shade  and  Filter  Holder. 
1  PB  Haze  Fllur  (for  Kodachromel. 
1  PB  Conversion  Filter   (for  converting  Type  A  to 

daylight). 
1  PB  Filter  Pouch. 

For  All  Standard  Makes  of  8mm's 
PONDEE  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles,  Calif. 


of  confused  and  heaving  sheet,  com- 
pletely out  of  focus.  The  scene  was 
changed.  The  camera  was  then  tracked 
back  from  another  mass  of  sheet,  the 
changeover  being  quite  unnoticeable,  to 
disclose  a  sheet  lying  on  the  floor  by 
the  bedside,  with  the  children  still 
struggling,  for  they  have  just  fallen 
out  of  bed.  Was  it  all  a  dream?  They 
climb    back    into   bed    again,  rubbing 


their  eyes  and  the  film  fades  out  to  a 
finish. 

The  concluding  article  of  this  series 
will  appear  next  month  and  will  deal 
with  the  process  of  filming  a  combina- 
tion of  human  actors,  animated  pup- 
pets and  scenes  in  "Alice  in  Wonder- 
land" fashion  with  the  aid  of  the  mul- 
tiple stage  frame  described  in  the  March 
issue. 


3oreit  de^enie  filming. 


•  Continued  from  Page  229 

4.  Regional  Forester,  U.  S.  Forest 
Service,  Post  Office  Bldg.,  Albuquerque, 
N.  M.  Attention:  Mr.  Rex  King. 

5.  Regional  Forester,  U.  S.  Forest 
Service,  Forest  Service  Bldg.,  Ogden, 
Utah.  Attention:  Mr.  Chester  J.  Olsen. 

6.  Regional  Forester,  U.  S.  Forest 
Service,  760  Market  Street,  San  Fran- 
cisco, Calif.  Attention:  Mr.  W.  I. 
Hutchison. 

7.  Regional  Forester,  U.  S.  Forest 
Service,  Post  Office  Bldg.,  Portland, 
Oregon.  Attention:  Mr.  John  C.  Kuhns. 

8.  Regional  Forester,  U.  S.  Forest 
Service,  Victor  Building,  Washington, 
D.  C.  Attention:  Mr.  Frank  A.  Connolly- 

9.  Regional  Forester,  U.  S.  Forest 
Service,  Glenn  Bldg.,  Atlanta,  Georgia. 
Attention:  Mr.  C.  L.  Davis. 

10.  Regional  Forester,  U.  S.  Forest 
Service,  Plankinton  Bldg,  Milwaukee, 
Wis.  Attention:  Mr.  Scott  Leavitt. 

11.  Regional  Forester,  U.  S.  Forest 
Service,  Federal  and  Territorial  Bldg., 
Juneau,  Alaska.  Attention:  Mr.  Charles 
G.  Burdick. 

The  initial  shooting  script  follows.  It 
will  be  noted  that  there  are  numerous 
titles — about  seventeen  in  all.  So  be  pre- 
pared to  do  some  title  shooting  as  well 
as  filming  scenes  on  location.  Those 
who  will  present  their  films  with  re- 
corded narrative  will,  of  course,  omit 
the  sub-titles  where  necessary. 

Reference  is  made  in  script  to  driver 
"A"  and  "B"  to  distinguish  between 
the  two  and  make  clear  that  same  dri- 
ver and  companions  are  not  to  appear 
in  both  sequences  of  automobile  scenes. 

"FIRE.  THE  saboteur  - 
Title:  "Our  Forests — vast  storehouse 
of  natural  resources  which  have  build- 
ed  a  prosperous  nation  and  given  em- 
ployment to  countless  thousands.  .  . 

Scene  i.  Long  shot — Beautiful  for- 
est panorama. 

Title:  "Today  these  trees  take  on  a 
new  value,  a  new  responsibility — that 
of  supplying  vital  materials  for  our  war 
effort.  Lumber  for  ships.  .  .  ." 


Scene  2.  Medium  long  shot — of  ships 
in  harbor. 

Title:  "Cantonments.  ..." 

Scene  3.  Medium  long  shot  of  army 
cantonment  under  construction  (or 
completed.) 

Title:  "Defense  housing.  ..." 

Scene  4.  Medium  long  shot  of  de- 
fense housing  project.  Cut  to 

Scene  5.  Medium  shot  of  artisan 
(carpenter,  painter,  etc.)  at  work  on 
one  of  the  dwellings. 

Title:  "Forests  furnish  turpentine 
for  the  paint  to  finish  our  ships,  planes 
and  battlecraft.  ..." 

Scene  6.  Closeup  of  painter  pouring 
turpentine  into  can  of  paint  and  mix- 
ing same. 

Title:  "Forests  provide  watersheds 
that  protect  our  vast  power  resourses." 

Scene  7.  Long  Shot  of  forest.  Cut  to 

Scene  8.  Medium  shot  —  running 
mountain  stream.  Cut  to 

Scene  9.  Long  shot — dam  with  pow- 
erhouse in  foreground. 

Title:  "And  no  less  important  — 
recreation  for  thousands  of  American 
families." 

Scene  10.  Long  shot  —  Mountain 
recreation  center,  playground,  or  moun- 
tain campsite. 

Sene  1 1.  Medium  shot  of  some  moun- 
tain camp  activity. 

Scene  12.  Closeup  of  same  action. 

Title:  "With  the  growth  of  our 
country  has  come  deeper  penetration 
of  our  forests  by  man,  and  with  him, 
a  new  element  of  destruction — Fire." 

Scene  13.  Medium  shot.  Opening 
in  forest.  Man  in  foreground  stops  to 
light  pipe.  Cut  before  he  disposes  of 
match. 

Title:  "Ninety-three  per-cent  of  all 
forest  fires  are  mancaused,  chiefly  by 
careless  smokers.  .  .  ." 

Scene  14.  Medium  shot  of  open  car 
(convertable  sedan  or  coupe)  traveling 
down  highway.  Group  of  young  peo- 
ple occupy  car. 

Scene  15.  Medium  closeup  (from 
rear  seat  of  car)  of  driver  "A"  and 
companion  beside  him.  Car  traveling. 
Driver  carelessly  flicks  cigarette  away. 

Scene    16.    Closeup.    Leaves,  dried 


HOME  MOVIES  FOR  JUNE 


PAGE  253 


grass,  etc.,  beside  road.  Smouldering 
cigarette  falls  into  scene.  Leaves  start 
to  burn.  (A  little  gasoline  applied  to 
leaves  will  cause  immediate  ignition.) 

Scene  17.  Medium  shot  of  preceding 
scene  to  show  adjoining  brush  ablaze. 

Scene  18.  Closeup  of  flames. 

Title':  "A  carelessly  thrown  cigarette 
and  hundreds  of  acres  are  laid  waste — 
vital  defense  materials  are  destroyed." 

Scene  19.  Long  shot  of  burned  over 
area.  (Where  such  actual  scenes  are  un- 
available, filmers  may  substitute  an  in- 
sert shot  of  a  still  photograph  of  this 
scene.  Suitable  photos  are  obtainable 
from  the  U.  S.  Forestry  department.) 

Title:  "Disastrous  forest  fires  can  be 
curbed  in  two  ways — by  closing  forests 
to  travelers  and  vacationists  or  by  ed- 
ucating smokers  in  more  careful  smok- 
ing conduct." 

Scene  20.  Camera  dollies  from  me- 
dium shot  position  to  full  closeup  of  a 
"Closed  Area"  sign,  revealing  text. 

Title:  "Few  of  us  realize  how  casu- 
ally we  reach  for  another  cigarette  or 
toss  away  a  lighted  stub.  The  action  is 
more  habi.ual  than  deliberate." 

Scene  21.  Series  of  three  closeups  of 
3  different  smokers  carelessly  throwing 
away  a  partially  burned  but  still  light- 
ed cigarette.  Fade  scenes  in  and  out  or 
dissolve  where  possible.  Use  a  girl  for 
one  of  the  smokers. 

Title:  "To  control  this  habit  in  dan- 
ger areas,  the  U.  S.  Forestry  Depart- 
ment is  providing  travelers  entering 
all  National  Forests  with  "Fag  Bags" 
—tiny  red  muslin  sacks  into  which  the 
smoker  places  his  pack  of  cigarettes 
and  matches  for  duration  of  his 
visit.  ..." 

Scene  22.  Medium  long  shot.  Exte- 
rior of  ranger  station  at  entrance  of 
National  Park.  An  open  automobile  with 
driver  "B"  and  one  pasenger  enter  scene 
from  behind  camera  and  come  to  stop 
opposite  ranger  station.  Ranger  comes 
out  and  begins  usual  conversation  with 
driver.  Cut  to 

Scene  23.  Medium  closeup.  Same 
scene  as  22.  Ranger,  with  several  fag 
bags  in  hand,  conversing  with  driver. 
Hands  him  fag  bag,  then  offers  one  to 
driver's  companion. 

Scene  24.  Closeup  of  Fag  Bag  in 
driver's  hand. 

Scene  25.  Medium  closeup.  Camera 
at  front  of  car  in  elevated  position, 
shooting  down  on  driver,  companion 
and  ranger.  Driver  takes  pack  of  cigar- 
ettes and  matches  from  pocket,  places 
same  in  fag  bag;  pulls  draw  string. 

Scene  26.  Closeup  of  bag  showing 
draw  string  being  tied. 

Title:  "Attached  to  each  "Fag  Bag" 
is  a  pledge  which  the  smoker  signs 
promising  his  cooperation  in  preventing 
forest  fires." 

Scene  27.  Closeup  of  smoker's  hand 
signing  pledge. 


Scene  28.  Same  as  scene  23.  Medium 
closeup.  Driver  places  fag  bag  in  poc- 
ket, bids  ranger  good  day  and  drives  on. 
Fade  out. 

Title:  "Thus,  when  unconsciously 
reaching  for  a  cigarette,  the  smoker  is 
unable  to  extract  one  as  conveniently 
as  before.  The  "Fag  Bag"  stops  him, 
makes  him  think  twice  before  lighting 
a  cigarette  in  closed  forest  areas." 

Scene  29.  Medium  closeup  of  same 
driver  and  companion  as  they  drive 
along  highway.  Driver  chatting  with 
companion.  Casually  reaches  into  poc- 
ket for  a  cigarette.  Puzzled  expression 
as  he  contacts  fag  bag  given  him  ear- 
lier in  day.  Draws  it  out  and  looks  at 
it.  Indicates  he  understands;  ad  libs  to 
companion;  then  with  shrug  of  shoul- 
ders, returns  fag  bag  to  pocket.  Fade 
out. 

Title:  Fade-in  "Patriotic  visitors  to 
National  Parks  will  heed  the  warning 
of  the  little  red  fag  bag  and  forego 
smoking  until  reaching  authorized 
smoking  areas." 

Scene  30.  Medium  closeup  of  driver 
"B"  and  companion  in  car  (but  from 
another  camera  angle  than  was  used  in 
scene  29).  As  they  pass  "smoking  area" 
sign  on  highway,  which  is  visible  mo- 
mentarily in  immediate  background, 
driver  turns  to  look,  then  indicates 
slowing  down  of  car. 

Scene  31.  Closeup  of  "Smoking 
Area'  sign. 

Scene'  32.  Medium  long  shot.  Car 
coming  to  a  halt  at  side  of  road.  Dri- 
ver and  companion  alight  and  driver 
extracts  cigarettes  from  fag  bag. 

Scene  33.  Medium  closeup  of  driver 
and  companion.  He  offers  cigarette  to 
companion.  They  both  light  up.  Regis- 
terter  satisfaction.  Driver  leans  against 
car  and  looks  around  to  survey  beauty 
of  mountains  and  trees  in  distance. 

Scene  34.  Long  shot.  An  exception- 
ally appealing  panorama  of  hills,  trees, 
etc.  This  is  the  scene  driver  and  com- 
panion are  enjoying  in  preceding  shot. 

Scene  35.  Back  to  scene  33.  Driver 
turns  to  companion  and  speaks:  "Smok- 
ing amidst  such  scenery  is  worth  wait- 
ing for.  I'd  hate  to  think  I  carelessly 
sabotaged  a  spot  like  this  with  a  lighted 
match  or  cigarette." 

Scene  36.  Back  to  scene  35  as  driver 
completes  speech.  Places  arm  about 
companion  and  as  they  start  to  stroll 
away,  fade  out. 

The  End. 

One  of  the  props  necessary  in  this 
picture  is  the  little  red  Fag  Bag  with 
the  tag  attached.  These  may  be  secured 
without  charge  from  any  of  the  Forest 
Department  chiefs  already  listed.  Rang- 
ers are  prepared  to  assist  all  filmers  un- 
dertaking this  forest  conservation  film- 
ing project  and  will  also  arrange  for 
showing  of  films  upon  completion  in 
any  of  the  parks. 


WARNING! 


TOO  LITTLE 

film    protection    is  r 
tute    for  complete 
impregnation. 


3  substi- 
VAPOR 


BETTER  PHOTO 
FINISHERS 

OFFER 
VAPORATE 
PROTECTION 
FOR  STILL 
NEGATIVES 


TOMORROW    MAY  BE 

TOO  LATE 

to  prevent  damage 
from  climate,  scratch- 
es, oil,  water,  finger 
marks  and 

DISTORTION  OFl 
COLOR  LAYERS 


VApjQRATE 

VAPORATE  CO.,  INC.  I  BELL  S  HOWELL  CO. 
130  W.  44th  St.,  I  180  Larchmont,  Chicago 
New    York    City      |  714  N.  LaBrea.  Hollywood 


FOR  REELS 


A  FINE  GIFT 

For  a  Friend  or  Yourself 

Most  modern,  convenient  way 
to  file  reels,  either  plain  reels 
or  reel  cans.  Fits  your  book- 
shelf. Pin  seal  simulated  leath- 
er binding  in  blue,  black, 
maroon  or  green. 

No.  600  for  nine 
200-ft.8iiim.  reels 

No.    800   for    nina  m 
400-ft.  ninm.  reels...     I. "3 


$1.50 


1.95 


No.  700  for  seven 
400-ft.  lOmm.  reels 


Write  for  Folder  on  other 
Amflles  to  match — Slide  Piles. 
Xegaiive  Files,  Loose  Leaf 
T'rinl  Alburns,  etr. 


AMBERG  FILE  &  INDEX  CO.  iS^J,S;riM^'c?i 


NOW!!!  Spend  less  to  oii>>i  ami  operate  your 
viovie  camera — Load  with 

ONYX  MOVIE  FILM 

ONYX      ONYX  ONYX 
8  24  Hi.Sprpd 

100  ft.  16...  $2.25    $4.25  $4.75 

25  ft.  8/8   1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

RATINGS  — 8-24-.5n  for  Daylieht 
Reversal  Precessing  Free  of  Charee. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processiiii;. 
KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO.  TLh. 


YOU  ASKED  FOR  IT! 

REASONABLY  PRICED 

Recorded  Musical  Backgrounds 

MATCHED  TO  YOUR  FILMS 

•PO-UU       33-1  3  R.P.M. 
50  Ft.,  Either  speed,  one  side  10"  disc    $4  00 
50-100  Ft..  33-1/3  or  78,   one  or  two  sides 

10"   disc    5.00 

100-200  Ft.,  33-1 '3.  two  sides— 12"  disc  6  00 

100-200  Ft..  78.  two  sides— two  10"  discs  6  75 
PROFESSIONAL  QUALITY  THROUGHOUT.  IF 
COMMENTARY   IS  DESIRED— Add  $5  Per  100' 

KENNY   CARLSON  RECORDINGS 

4220'/2  OLIVE  KANSAS  CITY,  MO. 


When    You    Buy  BAIA 
You  Buy  the  Best 
Precision  Made; 
^  Guaranteed  Perfect 

>  $2.75 

Prom  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
166  Victor 
Highland  Parli,  HlchUan 


PACE  254 


HOME  MOVIES  FOR  JUNE 


Sf  / 


'""»r  •„„„ 


\  / 


0  /, 


/rS  FASCINATING  . 

Thousands  of  movie  amateurs  arc 
processing  their  own  movie  film, 
finding  it  as  much  fun  as  shooting. 
It  makes  for  economy,  too.  Find  out 
why.  Read  this  fascinating  book. 
Tells  you  how  to  process  8mm.  and 
1 6mm.  black  and  white  film.  Tells 
how  to  build  simple  processing  equip- 
ment. Gives  all  necessary  formulas. 
Well  worth  the  price  of  50c. 


SI 


WUI  TO  TITIC 


LABEL  IT! 

what's  a  movie  with  a  name — a 
TITLE?  How  will  your  audience 
understand  your  picture  without 
explanatory  titles?  Learn  how  easy 
it  is  to  make  your  own.  This  easy- 
to-understand  book  tells  everything 
you  want  to  know  about  this  fasci- 
nating branch  of  the  home  movie 
hobby.  Gives  tables  for  exposures, 
lens  diopters,  field  areas,  etc.  Mailed 
prepaid  for  only  $1.00. 

On  Sale  At  Dealers  Or  Order  Direct  From 

HOME  MOVIES 

6040  SUNSET  BOULEVARD 
HOLLYWOOD  CALIFORNIA 


filming.  .  .  . 

•  Continued  from  Pa);e  222 

titled,  "City  of  Toronto."  Shortly  af- 
ter beginning  production  of  this  film, 
which  was  to  be  adapted  to  sound,  the 
government  sent  another  request  to  the 
club  to  produce  a  400-foot  silent  ver- 
sion of  the  same  picture. 

E.  J.  Beattie  of  the  same  club  has 
also  produced  a  defense  film,  "Copper 
Goes  to  War"  which  includes  scenes  of 
army  maneuvers  and  armament  manu- 
facture. The  production  is  in  i6mm. 
Kodachrome. 

T)ake  gour 
camera  to  work 

•  Continuid  from  Paf^e  2y) 

writers,  adding  machines,  dictaphones, 
etc. — and  then  shots  of  the  operators. 

The  title,  "The  Old  Army  Game" 
shows  a  queu  of  employees  receiving 
paychecks.  "Mess"  introduces  scenes  of 
various  employees  eating  lunch  and 
then  indulging  sports  during  the  re- 
mainder of  their  lunch  hour.  This  part 
of  the  day's  activities  afforded  greater 
opportunities  for  Eroddy  to  picture 
many  of  his  fellow  employees.  Those 
who  could  not  be  filmed  on  duty  were 
photographed  in  suitable  activity  at 
noon.  There  are  shots  of  men  eating  in 
their  cars;  in  groups  in  the  factory  yard; 
girls  clambering  into  cars  for  a  drive 
to  a  nearby  restaurant  or  lunch  room; 
the  executives  entering  a  swank  cafe. 
Following  this  are  scenes  showing  the 
men  playing  baseball,  boxing,  etc.,  and 
the  girls  playing  cards,  badminton,  or 
just  chatting  in  groups. 

Back  again  indoors,  Eroddy  has 
shown  employees  in  other  departments 
in  their  actual  duties,  forging  metal, 
spraying,  wiring  instruments,  etc.  The 
closing  sequence  is  preceded  by  the  ti- 
tle, "Company  dismissed  ..."  and  is 
followed  by  shots  of  employees  punch- 
ing the  time  clock  and  going  home. 
A  final  military  touch  was  given  the 
close  of  the  picture  with  a  shot  of  a 
bugle  boy  in  uniform  silhouetted  against 
a  setting  sun  and  sounding  retreat. 

In  analyzing  this  picture,  one  finds 
several  things  that  make  it  more  than 
usually  interesting.  First  there  is  the 
military  theme  which  tied  the  sequences 
together  nicely.  There  are  the  titles,  or- 
iginal and  well  staged.  Then  there  is 
the  photography,  excellently  done  with 
many  effective  camera  angles  and  fre- 
quent change  of  camera  viewpoint  that 
advances  interest.  Editing,  too,  shows 
a  keen  instinct  for  this  branch  of  the 


•  All  amateurs,  whether  subscribers 
to  HOME  MOVIES  or  not,  are  Invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  -stars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 


art  on  the  part  of  Eroddy.  Scenes  were 
well  cut  and  to  proper  length  to  main- 
tain an  interesting  continuity. 

Few  amateurs  who  have  chosen  this 
subject  for  a  movie  have  treated  it  so 
well.  On  the  other  hand,  many  capable 
amateurs,  stymied  for  a  filming  idea, 
have  overlooked  the  possibilities  of  an 
interesting  movie  that  exists  in  their 
place  of  employment.  The  imagination 
and  movie-mindedness  of  Eroddy  was 
quick  to  recognize  the  possibilities  of 
filming  an  ordinary  documentary  sub- 
ject in  a  new  way  and  it  required  only 
putting  into  action  a  resourcefulness 
in  scriptwriting,  photography  and  di- 
rection to  turn  out  "A  Day  On  the 
Western  Front." 

Sn^orma  tion 

please  .  .  . 

•  Continued  from  Page  224 

rectly  on  a  piece  of  cut  film — say  3  Y/'x 
4Y4"  in  size — then  make  an  enlarge- 
m.ent  from  it.  The  z'-xzYj"  image  you 
mention  will  also  make  a  much  better 
enlargement  than  the  negative  made  by 
still  camera  as  you  suggest.  Don't  ex- 
pect too  great  an  enlargement  of  an 
Smm.  film  frame.  That's  a  pretty  small 
area  to  blow  up  satisfactorily  to  s  '^j" 

aft  // 

or  8  xio  . 

Experimental 
%Vork^ltop  .  .  . 

•  Continued  from  Page  239 

Sheet  steel  i  16"  thick  was  used  in 
constructing  the  bracket.  A  hole  is  pro- 
vided for  tripod  screw  and  two  "ears" 
were  bent  up  at  back  to  keep  device  in 
proper  position. 

Holes  for  cable  release  were  drilled 
with  a  No.  36  drill  and  threaded  with 
a  No.  6-32  tap.  Only  one  cable  release  is 
required,  being  instantly  interchange- 
able in  the  holes.  Two  are  shown  in 
photo  to  facilitate  explanation. 

— D.  Ward  Pease, 
Chicago,  III. 


HOME  MOVIES  FOR  )UNE 


PAGE  255 


TITLE  troubled 


By  GEORGE  W.  CUSHMAN 

If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self -addressed  stamped 
envelope  if  you  wish  an  early  reply. 

O.  /  want  to  make  titles  with  moving  backgrounds  pro- 
jected from  rear.  What  material  do  yon  advise  for  the 
screen;  also  how  can  the  title  letters  be  made  to  appear 
white  when  background  is  projected- — M.  S.,  New  Or- 
leans, La. 

A.  Ground  glass,  artist's  tracing  cloth,  or  opal  glass 
may  be  used  for  transparent  screen.  Opal  glass  is  best,  pos- 
sesses less  grain,  distributes  light  more  evenly.  Two  methods 
will  bring  out  whiteness  of  title  letters:  letters  can  be  shot 
separately,  then  superimposed  (double-exposed)  over  the 
projected  background  shot;  or,  a  weak  light  can  be  played 
upon  letters  sufficient  to  emphasize  them  and  make  them 
stand  out  from  the  projected  background. 

Q.  I  use  but  a  single  photoflood  in  fihning  titles.  The 
titles  I  film  on  reversal  appear  evenly  lighted  while  those 
shot  on  positive  appear  unevenly  lighted  under  identical 
lighting  and  filming  conditions.  What  causes  this} 

A.  The  single  photoflood  is  not  giving  good  over-all 
lighting  on  your  title  card.  There  are  "hot  spots"  which 
are  not  discernible  to  the  eye.  Two  photofloods,  one  placed 
at  each  side  of  the  camera,  will  provide  more  even  illumi- 
nation, remedy  your  trouble.  Reason  fault  fails  to  show  in 
reversal  titles  is  because  title  background  is  black,  reflects 
no  light. 

O.  Hoiv  long  should  positive  film  be  left  in  hypo?  Some 
say  T.ntil  it  clears,  others  say  for  twice  this  time.  Which  is 
correct? — A.  M.  B.,  Tyler,  Texas. 

A.  Film  manufacturers  advise  leaving  film  in  hypo  for 
twice  the  time  required  to  clear  it.  Hypo  does  more  than 
clear  away  visable  "milkiness,"  for  when  "milkiness"  dis- 
appears, hypo's  job  is  only  half  done.  Some  slow-contrast 
films  clear  in  a  few  seconds;  the  faster,  "super"  films  re- 
quire several  minutes. 

O.  Isn't  there  a  formula  by  which  1  may  quickly  de- 
termine hoiv  far  aivay  my  camera  should  be  to  film  a  title, 
say,  9"a'I2"  in  size? 

A.  Yes.  Multiply  width  of  title  by  2'/2.  In  this  case, 
2 '/•  times  12  is  to.  Therefore  camera  should  be  placed 
30"  from  title.  This  formula  applies,  of  course,  only  to 
standard  lenses — i"  i6mm.  and  '4"  8mm. 


H  0  H  E    HI  0  V  I  E 

TITLES 

T 

I  HIS  month  our  artist  comes  up  with  a  new 
and  clever  idea — an  "End"  title  in  series  for  those 
genial  cine  hosts  who  provide  refreshments  for 
guests  after  an  evening's  screening  of  films.  Its 
readily  photographed  as  usual  in  a  typewriter  titler 
and  offers  an  interesting  one-evening  filming  pro- 
ject. The  title,  spliced  on  to  the  last  reel,  will  sur- 
prise and  please  your  guests. 


• 

0 

$ 

THIS  15  . 
FOLKS... 

7 

PAGE  256 


HOME  MOVIES  FOR  JUNE 


CLASSIFIED 


ADVERTISIE 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  Long  experience  counts.  Hard  to 
get  apparatus  here.  Write. 

USED  CAMERAS 
16mm.  DeVry.  100  ft.,  F:3.5  lens,  $19.50. 
16mm.  Cine  Kodak  Model  E,  F:3.5  lens,  $32.50. 
16mm.  B.  &  H.  70A,  F:3.5  Cooke,  $44.50. 
16mm.  B.  &  H.  Model  121,  Cooke  F:2.7  lens,  $57.50. 
16mm.  Simplex    Pockette    Magazine,    F:l.9  Kodak 

Anasigmat,  optical  finder,  $64.50. 
16mm.  B.   &   H.   Model    141    Magazine,   fitted  with 

Cooke  F:2.7  fixed  focus,  $87.50. 
16mm.  Cine  Magazine  Kodak,  F:l.9  lens,  with  case, 

$92.50. 

16mm.  Victor  3  Turret,  Cooke  F:3.5,  I"  F:l.5  Wollen- 

sak,  3'  Telephoto  and  case.  $124.50. 
16mm.  B.  &  H.  70DA,  I'  F:l.8  Cooke,  20mm.  F:3.5 

Cooke  and  3"  F.4  Wollensak,  case,  $235.00. 
Cine    Kodak    Special,    latest   model,    Kodak  F:l.9 

lens,  $445.00. 

Cine    Kodak    Special    F:l.9    lens,    3'   Kodak  Tele. 

F:4.5.  reflex  image  finder,  carrying  case,  $475.00. 
8mm.  B.  &  H.  Single  8,  F:3.5  lens,  $21.50. 
8mm.  Cine  Kodak  Model  60,  F:l.9  lens,  $57.50. 
8mm.  Cine   Magazine,    Model   90,    F:l.9   lens,  with 

case,  $92.50. 

8mm.  Zeiss  Movikon.  Zeiss  Sonner  F:2  lens  and  case. 
$125.00. 

8mm.  B.  &  H.  Aristocrat,  with  focuser,  Cooke  F:2.5, 
I'  Wollensak  F:l.5  focusing,  IH'  Britar  F:2.7 
with  finder  lenses,  case,  $207.50. 

RARE  CINE  LENSES 

25mm.  Schneider  Xenon  F:2,  focusing  C  mount, 
$52.50. 

I  v."  B.  &  H.  Telate  F:3.5,  $42.50. 

2"  Cooke  F:3.5,  C  mount,  $65.00. 

2'  B.  &  H.  Acura  F:2.8,  C  mount,  $67.50. 

50mm.    Meyer    Makro    Plasmat    F:2.7,    focusing  C 

mount,  $63.50. 
3%"  Cooke  F/3  3,  C  mount,  $87.50. 
4"  Cooke  Tele  F:4.5,  C  mount,  $87.50. 
4%'  Meyer  Trioplan  F:3.5,  focusing  C  mount,  $85.00. 

USED  PROJECTORS 
16mm.  DeVry    Model    G,    200   watt,    motor  drive, 

$17.50. 

16mm.  Kodachrome  EE,  F:2.5  lens,  750  watt  bulb, 
$57.50. 

16mm.  B.  &  H.  57A,  400  watt  lamp  and  case,  $50.00. 
Bolex    8-16.    complete    with    lenses    and  carrying 
case,  $175.00. 

In  stock;  New  Filmo  Masters  16mm.  and  8mm., 
Ampro  8's.  Revere,  Keystone  A-8  and  A-82. 

For  your  files:  Bass  Supplementary  Price  List  of 
Cine  Equipment — up  to  the  minute,  free  on  re- 
quest. 

BA«;S  CAMERA  COMPANY  Dept.  HC,  179  W. 
Madison  St.,  Chicago,  Illinois. 

•  HOLMES  model  I2-I6mm.  sound  proiector,  me- 
chanically perfect,  case  shopworn.  $250  00.  Bolex 
16mm.,  Maver  1. 5  and  Eastman  4  in.  f/2  7.  all  iust 
like  new  $300.00.  Eastman  model  E,  f/1.9  lens, 
never  been  used,  $50.00.  FRANKLIN  DAVIS, 
Ocllla,  Georgia. 

•  BELL  &  HOWELL  16mm.  Automaster,  turret,  I' 
Cooke  f/1.5  len<!,  r^ireri  foruser.  carrying  case, 
like  new,  $175  00.  P.  O.  BOX  5151,  Logan  Stn.. 
Philadelphia,  Pa. 

•  CINF  SPECIAL,  lenses,  Ektra  35mm.,  Sound  Am- 
pro YSA,  Culbertson  duospeed  dual  turntable. 
AH  new  flcreoted  as  fees,  sell  list,  no  discount, 
AH'Y  GOLDBERG,   49   Pearl,   Hartford,  Cr.nn 

•  SAVE— Easy  to  make  your  own  8-l6mm.  action 
filmviewer.  No  shutter  or  moving  Darts — film  ap- 
pears as  motion  pictures.  Send  $1.00  todav  for 
blue  prints  and  instructions.  Bl""KLEY  BROS., 
1 188  Broadview  Ave.,  Columbus,  Ohio. 


WANTED 


•  WANTED  used  8mm. -16mm.  films,  cameras,  pro- 
iectors  Spot  c?>sh  for  anythina  photographic. 
We  sell,  trade.  BOBS,  154  East  47th  St.,  New  York 
City.  

•  WANTED  —  used  equipment.  Bargain  list  on 
request.  PETERS,  41-B  So.  4th  St.,  Aller.town,  Penna. 

•  PRIVATE  party  wants:  Filmo  70DA  with  or  with- 
out lenses.  Also  Filmo  16mm.  projector,  etc.  LLOYD 
RAAB.  Portage,  Wash.  

•  TURN  your  idle  camera,  proiector  or  binoculars 
into  ready  cash.  Brinq  it  or  write  us  details  to  re- 
ceive  our  price.  RUBY'S,  729  Seventh  Ave..  N.  Y.  C. 

•  SOUND  projector  wanted,  good  condition — 
Bell  &  Howell  or  Ampro.  Pay  qood  price.  STAHL 
SI   East  97th  St..   New  York  City.  

•  WANTED — sound  projector  in  good  condition. 
State  make  and  model  and  lowest  price.  FRANCES 
Al  DRICH.  39  Hayes  St.,  Arlington.  Mass.  

•  WANT  B  &  H  viewfinder  turret;  Cooke  1'  f/1.5; 
Cooke  I"  fixed  f/2.7;  Cine  Special  accessories. 
THOS.  PETERSON,  Box  228,  Tucson,  Arizona. 


#  Have  you  Some- 
thing to  sell? 

Turn  it  into  cash  with  a  Home  Movies  classi- 
fied ad! 

RATES:  Ten  cents  per  word;  minimum  charge. 
SZ  cash  with  order.  Closine  date.  lOth  of  pre- 
cedinc  month.  HOME  MOVIES  does  not  guaran- 
tee goods  advertised.  Send  ad  copy  to  6060  Sun- 
set Boulevard,  Hollywood,  California. 


TITLING 

•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20",  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  all  titlers  which 
provide  for  interchange  of  tenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  tenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO.,  3221  So. 
Figueroa  St.,  Los  Angeles,  Calif. 

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
plete sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus,  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  and  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
all  titling  needs.  MITTENS  LEHER  CO.,  Redlands, 
Calif. 

DUPLICATING  SERVICE 

•  ESO-S  Monocolor  8mm.  dupes  of  your  favorite 
films,  2'4c  per  foot,  up.  ESO-S  PICTURES,  3945 
Central  St.,  Kansas  City,  Mo. 


FILM  RELEASES 


Tjnrmnnco'iTO'o'o'u'o  innnnnnnnrvirs 


Movies  of 

Kiddies  .  .  . 

will  be  better  if  you  follow  the  filming 
ideas  contained  In  this  new  32-page  book- 
let just  off  the  press.  Contains  50  separ- 
ate ideas  on  how  to  film  children — how 
to  make  home  movies  of  your  kiddles  ap- 
pealing and  professional-like.  It's  the  best 


25c 


investment  you  can  make! 

VER  HALEN  PUBLICATIONS 

6060  Sunset  Blvd.  Hollywood,  Calif. 


^iLfiJLJLflJLSLaj 


JLtLiULfiJLtt-Q-fl-Q-O-O-O-O-g-flJLft: 


•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  Bldg.,  Boston,  Mass. 

•  8MM.-16MM.  sound  and  silent  films,  projectors, 
and  cameras — bought,  sold  and  exchanged.  Trades 
or  terms  accepted.  Free  bargain  bulletin.  ZENITH 
308  West  44th.   New  York. 

•  1000  Subjects  listed!  New  Catalog  -  8mm.  com- 
edies 200  ft.  each,  brand  new,  $4.50.  Liberal  ex- 
changes for  your  old  subjects.  ABBE  FILMS,  1265 
Broadway,  N.  Y.  City. 

•  8MM.  FILMS!  New  Castle  releases.  Good  used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL  FILMS 
Dept.  HM-642  ,  2221  W.  67th  St.,  Cleveland,  Ohio. 

•  8MM.-16MM.  films  bought,  sold,  exchanged.  Si- 
lent-Sound odd  reels,  $1.50,  complete  subjects  $2.00 
up.  Catalog,  sample  film,  10c.  INTERNATIONAL. 
2120  Strauss,  Brooklyn,  N.  Y. 

•  ASTOUNDING  Offer!  Purchase  1  film  (any 
make)  or  exchange  5  reels  and  receive  Free  a 
30'x40'  movie  «creen.  GARY  FILMS,  369  East  55th 
Brooklyn,  N.  Y. 

•  16MM  Exchanges — Silent  films.  JI.OO  reel,  sound 
$2.00.  Also  bought,  sold.  Castle,  Official  latest 
releases.  BETTER  FILMS,  742  New  Lots  Ave.. 
Brooklyn,   N.  Y. 

•  "EASY  STREET"— starring  Charlie  Chaplin.  One 
of  Chaplin's  greatest  comedies  printed  direct  from 
35mm.  to  8mm.  for  best  quality.  Two  reels,  H 
hour,  $8.00.  COPE  STUDIO,  3720  So.  Figueroa,  Los 
Angeles. 

•  LATEST  Home  Movies — sale,  rental,  exchange. 
Lowest  prices!  Every  purchase  guaranteed!  For  full 
information  write  BAILEY  FILMS,  1651  Cosmo,  Hol- 
lywood. 

•  SALE-rent  8-16mm.  silent  or  sound.  Write  for 
Official  Films'  circular.  Over  50  releases.  Also  ed- 
ucational, comedies,  new  features.  State  require- 
ments. Educational,  public  and  commercial  groups 
solicited.  L.  A.  PHILLIPS  COMPANY,  Producers- 
distributors,  475  Fifth  Ave.,  N.  Y.  C. 

KODACHROME  FILM  RELEASES 

•  KODACHROME  TRAVEL  FILMS.  Latest  releases 
now  available  for  distribution,  in  8  and  16mm.  A 
postcard  will  bring  listings.  KENWOOD  FILMS, 
818  E.  47th  Street,  Chicago,  111. 

•  MOVIES   for   grownups.    (Not   Arts).    Many  in 

Kodachrome,  8mm.,  16mm.  Lists,  handy  lens  cloth, 
dime.  JENKINS,  392,  Elmira,  N.  Y. 

FILMS 

•  8MM.-16MM.  Film,  including  processing,  day- 
light loading,  non-halation,  25  ft.  8/8mm.  Weston 
12,  85c;  Wesson  24-16,  $1.25;  Weston  64-40.  $1.50. 
100  ft.  16mm.  Weston  12,  $1.85;  Weston  24-16,  $3.75; 
Weston  64-40,  $4.00.  RITTER  FILM  SERVICE,  629 
Lyman  Ave.,  Oak  Park,  Ml. 

•  ESO-S  saves  you  501^  on  spooled  film  costs.  Ad 
on  page  243. 

PROCESSING  SERVICE 

•  MOTION  picture  processing.  lOO'  16mm.,  75c; 
50'  16mm.,  50c;  25'  8mm.,  35c;  25'  8mm.,  25c.  RITTER 
FILM  SERVICE,  629  Lyman  Ave.,  Oak  Park,  111. 

•  ESO-S  is  licensed  by  Eastman  to  process  your 
double-8mm.  films.  45c.  ESO-S  PICTURES,  3945 
Central  St.,  Kansas  City,  Mo. 

HOBBY  BOOKS 

•  SAVE  MONEY  in  wasted  film,  and  increase  your 
enjoyment  of  home  movie  making  by  having  a 
complete  textbook  on  operation  of  the  movie  cam- 
era. Lack  of  knowledge  results  in  wasted  film  and 
loss  of  enjoyment.  If  you're  a  beginner  in  cinema- 
tography you'll  want  a  copy  of  "How  to  Use  a 
Movie  Camera."  Just  50c  and  well  worth_  it. 

There's  fun  and  satisfaction  in  processing  your 
own  film,  besides  enabling  you  to  use  inexpensive 
bulk  film.  Full  of  instructions  and  advice  by  ex- 
perts, plus  complete,  easy-to-understand  plans  for 
building  your  own  processing  equipment.  "How 
to  Process  Movie  Film"  is  a  money  saver  at  50c, 
postpaid. 

The  basic  textbook  of  home  titling  is  another 
"must"  for  the  amateur's  library.  This  popular  vol- 
ume tells  all  about  title  exposure,  what  equipment 
to  use,  all  about  auxiliary  lenses,  and  how  to  make 
your  own  titler.  Send  $1.00  today  for  your  copy 
of  "How  to  Title  Home  Movies." 

VER  HALEN  PUBLICATIONS,  6060  Sunset  Blvd., 
Hollywood,  Calif. 


Planning  Vacation  Movies? 


Read  thi 
booklet 

first...! 


It's  just  as  easy  to  make  your 
vacation  movie  a  compelling 
narrative  by  adding  contin- 
uity  and   a   few  running 
gags.  Try  it  this  year!  In- 
stead  of  bringing  back  a  ^Mj^ 
series  of  pot  shots,  shoot 
with   a   purpose  built 
around  the  host  of  ideas  ft^;;^' 
to  be  found  in  "50  Ideas 
for  Vacation  Films." 


First  chapter  tells  what  and  how  to  shoot  in  vacation 
and  travel  movies  .  .  .  there's  a  chapter  on  ideas 
for  "Running  Gags"  that  make  for  continuity  and 
tie  ordinary  vacation  scenes  together  .  .  .  full  con- 
tinuities for  vacation  films  are  suggested  in  still  an- 
other chapter  that  will  make  you  want  to  shoot  not 
one  but  several  separate  vacation  movies  this  sum- 
mer .  .  .  Closing  chapter  contains  1 5  art  titles  drawn 
especially  for  vacation  movies  .  .  .  it's  a  lot  of  book 
for  only  25c — just  one  of  HOME  MOVIES'  services 
for  the  amateur. 

Send  for  your  copy  today  and  plan  your 
summer  filming  now! 


Mail  25P  toda^l 

Use  This  coupon! 

VER  HALEN  PUBLICATIONS, 
6060  Sunset  Blvd. 
Hollywood,  Calif. 
Gentlemen: 

Enclosed  please  find  25c  for  which  please  send  me,  postage 
paid,  copy  of  50  IDEAS  FOR  VACATION  FILMS. 


Name  

Address  . 
City  


.  State.. 


What  Modernization  Can  Do 
for  Your  7/^^>^  Camera 


If  you'd  like  to  do  things  beyond  the  scope 
of  your  Filmo,  you  needn't  be  deterred  by 
the  fact  that  the  camera  you  need  may  be 
difficult  or  impossible  to  buy  now.  For  i) 


is  probable  that  B&H  craftsmen  can  give 
your  present  Filmo  the  versatility  you  want. 
Here  is  how  Filmo  8mm.  Cameras,  for  ex- 
ample, can  be  modernized. 


A  title  double-exposed  on  a  mov- 
ing picture  background 


One  person  plays  two  parts  . 
a  double-exposure  trick 


Refinishing 


VC'ould  you  like  to  have  your  Filmo  8  Camera  sparkle  again  as  when  new? 
At  the  B&H  Chicago  factory  we'll  remove  the  mechanism,  refinish  the  die- 
cast  housing  just  as  we  do  new  cameras,  and  reassemble,  all  for  S7.50. 


The  lap  dissolve 
gives  smooth  transi- 
tions 


Double  Exposures  and  Lop  Dissolves 

With  a  camera  equipped  to  rewind  film  after  the  first 
exposure,  so  that  it  can  be  run  past  the  aperture  a 
second  time,  making  professional  double  exposures 
and  lap  dissolves  is  easy.  Your  Filmo  8  can  be  fitted, 
at  the  B&H  factory,  with  the  necessary  Rewinding  Attachment,  which 
includes  external  rewinding  knob  and  frame  counter,  and  internal 
shuttle  release  lever  and  frame  counter  actuating  sprocket.  Prices,  in- 
cluding installation:  for  single-lens  Filmo  8,  $40.8  5;  for  Turret  8,  $43.5  5. 


Special  Effects  Possible  with 
Different  Camera  Speeds 

Your  Filmo  8  operates  in  one  of  two  speed 
ranges:  8,  16,  24,  and  32  frames  per  second, 
or  16,  32, 48,  and  64  f.p.s.  If  it  is  the  former, 
perhaps  you'd  like  to  take  slow-motion 
scenes,  which  require  the  64-speed.  And 
some  who  originally  chose  the  16  to  64 
range  would  now  prefer  the  other,  because 
8-speed  is  useful  for  accelerating  sluggish 
action  and  for  taking  pictures  under  weak 
light.  Either  speed  range  change  can  be 
made  on  any  Filmo  8  Camera  at  the  B&H 
factory  or  a  B&H  branch.  Price,  $10.65. 


C-)4-'^p€td  gite^  beautiful 
slou-molion  studies 


8-speed  douhk:-  the 
rate  of  action 


New  Ease  in  Determining  Correct  Exposure 

A  new  exposure  guide,  to  replace  the  one  now  on  your  Filmo  8,  covers  all 
the  factors  that  affect  lens  diaphragm  setting— not  only  seasons,  hours  of 
the  day,  and  types  of  subjects,  as  covered  by  your  present  guide,  but  also 
film  emulsion  speeds,  color  filters,  and  camera  operating  speeds.  Installed 
on  your  camera  at  B&H  factory  or  branch,  $3.50. 

Pin-sharp  Focusing  through  Any  Lens 

A  Critical  Focuser,  applicable  to  any 
Filmo  Turret  8  Camera  at  the  B&H 
factory  and  branches,  permits  see- 
ing a  magnified  image  of  your  sub- 
ject through  any  lens  on  the  turret 
head.  Thus  you  can  focus  visually 
for  maximum  sharpness.  Price,  in- 
cluding installation,  $19.45. 


Timely  Films  for  Home  Showings    ^fKffji/f£  YOUR  FILMO  LAST / 


ENJOY  SOUND  MOVIES  AT  HOME 

The  compact,  portable  FiLmosound  Utility  is  an  all- 
purpose  I6mm.  projector  .  .  .  shows  both  silent  and 
sound  films.  Amply  powerful  to  serve  in  your  church  or 
club  auditorium. 


"IVor  without  Warning"  Series 

Intelligently  compiled  from  various  domestic  and 
foreign  sources,  these  films  deal  with  the  fighting 
fronts  and  the  home  fronts,  too.  Write  for  detailed 
lists. 

"Know  Your  Neighbor"  Programs 

B&H  Filmosound  Library  offers  scores  of  choice 
films  which  increase  our  knowledge  of  our  allied 
peoples  and  of  the  vital  geography  of  this  first 
global  war.  Details  upon  request. 

8mm.  Film  Rental  Library 

Hundreds  of  popular  Filmosound  Library  movies 
are  now  available  for  rental  in  the  8mm.  size.  Users 
of  8mm.  projectors  are  invited  to  write  for  8mm. 
film  catalog. 

BELL  &  HOWELL  COMPANY 

Chicago;   New  York;  Hollywood;  VTashington, 


D.  C;  London.  Established  1901. 


To  help  Filmo  owners  keep  their  cameras  and  pro- 
jectors in  fine  condition  during  the  time  when  re- 
placement would  be  difificult,  we  have  established 
economical,  standard  charges  for  each  of  three  classes 
of  serv  ice  on  each  camera  and  projector  model.  You'll 
be  surprised  at  how  little  periodic  factory  service 
costs,  and  at  how  much  it  will  add  to  the  satisfaction 
your  Filmo  gives  you.  Mark  coupon  for  details. 


BELL  &  HOWELL  COMP.KNY 
1825  Larchmont  .\ve.,  Chicago.  IlL 
Please  send  folder  detailing  and  pricing  mod- 
ernizations of:  t   ■  8mm.  cameras  and  pro- 
jectors; (  .1  16mm.  cameras :  (  )  16mm.  silent 
projectors;  (  )  Filmosounds. 
Send  details  on  standard-price  servicing  of 

Send  details  on  (  )  Filmosound  Utility: 
(  timely  films  for  home  showings:  (  )  8mm. 
film  rental  library. 

Name  

.\ddress  

City  State  hm  s-<2 


Julv  .  19 

HOLLYWOOD'S  MAGAZINE  FOR  THE  MOVIE  AMATEUR 


donald 


duck . . . 


offers  a  bKtzkrieg  of  comedy  in  fhese  newest  releases  of  Walt  Disney 
animated  cartoons.  Here  are  films  to  enliven  your  home  movie  shows! 

DONALD   GETS   DUCKED    ....     1 560-A 

Fancy  skater  Donald  ventures  too  near  the  thin  ice 
arvd  gets  a  cold  bath  before  his  friend  Mickey 
finally  rescues  him. 

DONALD  DOWN  MEXICO  WAY     .     .  1563-A 

Taking  his  Spanish  Senorita  for  a  spin,  Donald 
finds  his  car  believes  it  is  fiesta  time  and  a  riot  of 
fun  results. 

100  Ft.  16mm   $3.00 

50  Ft.     8mm   1.50 


Mickey  Mouse 

and  all  his  pals  come  to  you  in  a  new  series  of  cartoons  for  home 
projectors.  There  are  laughs  galore  in  these  two  late  releases: 

STOP    EM   FLYING  1517-A 

Attacked  by  a  swarm  of  bees  Mickey  uses  blitz 
methods  in  repelling  the  attack  and  grounds  the 
entire  air  armada. 

RUNNING  WILD  1519-A 

Mickey  takes  Minnie  riding  on  a  steam  roller. 
The  pesky  twins  take  over  the  throttle  and  have 
a  holiday! 

100  Ft.  16mm   $3.00 

50  Ft.     8mm.    1.50 


TIMELY  FILMS  OF  PACIFIC  WAR  ZONES 


OUR  NAVY 

Uncle  Sam's  pride  of  the  Pacific,  the 
U.  S.  Pacific  Fleet,  shown  in  peace- 
time maneuvers.  Shows  warships 
in  impressive  battle  formations,  smoke 
screen  practice,  and  big  guns  in  ac- 
tion.   (Order  by  number — 137-A) 

100  Ft.  16mm   $2.00 

50  Ft.     8mm   1 .00 


AUCKLAND 

A  scenic  panorama  of  the  business  and 
residential  sections  of  Auckland,  New 
Zealand,  destined  to  play  an  important 
part  in  the  war  in  the  Pacific.  An  in- 
formative film  for  home  libraries. 
(Order  by  number — 11  01 -A  I 

100  Ft.  16mm   $2.00 

50  Ft.    8mm   1.00 


LIFE  ON  EQUATOR 

A  picturesque  panorama  of  life  in  the 
Dutch  East  Indies  before  its  recent 
domination  by  Japan.  Affords  a  brief 
but  interesting  study  of  natives  and 
equatorial  modes  of  living.  (Order  by 
number — 433-A  i 

100  Ft.  16mm   $2.00 

50  Ft.     8mm.    1.00 


HOLLYWOOD  FILM  ENTERPRISES,  INC 

6060  SUNSET  BOULEVARD  •   ^HOLLYWOOD,  CALIF. 


Kdvisory  editors 

A.  K.  BAUMGARDNER 

Peoria  Cineme  Club 

fETER  BEZEK 

Chicago  Cinema  Club 

AMES  BIALSON 

smateur  Motion  Picture  Club  of  St.  Louis 

\i  MOSS  BROWN 

Dallas  Cinema  Club 

A/ALTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  Pa. 

^.  EMERSON  CLYMA 

Detroit  Society  of  Cinematographers 

mSSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

:YRIL  DVORAK 

Suburban  Amateur  Movie  Club 

ARTHUR  E.  GIBBS 

Portland  Cine  Ctub 

'AY  A.  HOOK 

Seattle  8mm  Ctub 

ALFRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

J.  E.  NESTELL 

Cinemen  Club 

NARCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

GILBERT  B.  PETERSON 

Metropolitan  Cine  Club 

A.  THEO.  ROTH 

Sherman  Clay  Movie  Club 

C.  O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

J.  PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 

REED  E.  SNYDER 

Des  Moines  Y.M.C. A.  Movie  Club 

M.  F.  SISSEL 

Austin  Movie  Club 

CURTIS  O.  TALBOT 

Metro  Movie  Club  of  Chicago 

tntered  as  Second-Ctats  Matter.  May  i,  1938,  at 
the  Postoffic*  at  Los  Angeles,  Calif.,  under  the 
Act  of  March  3,  1879. 

Subseription  rates:  U.  S.  $2.50  per  year.  Canada 
and  Foreign  Countries,  $3.S0  per  year.  Single 
copies  25c.  Canadian  t  Foreign  single  copies  JSc. 


MIWT1E9 


Reg.  U.  S.  Pat.  Off. 


Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.  No  part  of  magazine 
may    be    reprinted    without    specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  JULY,  1942 

WITH    THE    REEL    FELLOWS   262 

THE     READER    SPEAKS     264 

INFORMATION    PLEASE    266 

REVIEWS  OF  AMATEUR  FILMS   267 

IDEAS  FOR  FILMING  THE  CIRCUS — By  Wurrcn  Garin   269 

FILMING  YOUR  FIRST  MOVIE — By  Stanley  E.  Andrews     270 

CLOSE-UP  FILMING  OF  BEES,  BUTTERFLYS  AND  BLOSSOMS 

— By  James  H.  Merrill  271 

TRICK  SFioTs,  HOLLYWOOD  STYLE — By  George  A.  Gauld   272 

HOW  TO  EDIT   HOME   MOVIES    27} 

CONTROLLING  FOCUS   FOR   BETTER  PHOTOGRAPHY 

— By  Wm.  J.  Borirmaiin  274 

GOOD  TITLES  AND  PLENTY  OF  THEM  By  }.  H.  Schocn    275 

REEL  FELLOW  FILMS  THE  UNDERGROUND  By  Clirtis  Randall   276 

A  HOME  MADE  PRESS  FOR  PRINTING  TITLES  By  GcorgC  CarlsOn     _  277 

THE  EXPERIMENTAL  CINE  WORKSHOP   278 

IF  YOU  WANT  A  FILM  TO  SHOW     280 

FOREST   DEFENSE    FILMING    285 

FILM*  EMULSION    RATING    CHART    286 

DEFENSE    FILMING    ACTIVITIES    289 

TITLE  TROUBLES — By  Gcorgc  W.  Cushman   295 

HOME  MOVIE  TITLES — By  Edmund  Turner   295 


CHAS.  ).  Ver  HALEN 

PUBLISHER 


C.  |.  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45Hi  Street 
Vanderbilt  6-5254 


JULY 


NUMBER  7 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
J.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD 


MAGAZINE       FOR      THE       MOVIE  AMATEUR 


PACE  262 


H3ME  MOVIES  FOR  JULY 


m 


AMATEUR  ^ 

MORE 


Reg.  U.  S.  Pat.  Off. 


CHALLENGER 

SCREEN 


•  Its  specially-processed  Da-Lite 
Glass-Beaded  Surface  makes  pic- 
tures brighter  and  sharper  and 
brings  out  colors  faithfully  in  full 
brilliance. 

•  Slotted  square  tubing  :n  the 
tripod  and  solid  square  tubing  in 
the  extension  support  assure  per- 
fect alignment  and  greater  rig- 
idity. Da-Lite's  patented  slotted 
construction  with  inn2r-locking 
mechanism  makes  the  Challenger 
the  easiest  of  all  portables  to  set  up 
and  to  adjust  in  height. 

•  Because  of  the  economies  of 
large-scale  production,  the  Chal- 
lenger gives  you  umnatched  value. 
The  3o"x4o"  size  is  only  $12. jo 
(slightly  higher  on  Pacific  Coast). 
There  is  no  Federal  excise  tax  on 
screens. 

Ask  your  dealer  for  the  time-proved  Da- 
Lite    Challenger.     Write    for  literature! 

DA-LITE  SCREEN  CO.,  Inc. 

Dept.  6  HM.  2715  No.  Crawford  Ave..  Chicago,  III. 


Witktke  REEL  FELLOWS 


FRIENDLY  FRATERNITY 


1  HE  letters  received  every  day 
from  Reel  Fellows  are  so  full  of  enthus- 
iasm and  ideas,  we  feel  we  ought  to 
share  them  with  others  of  the  fratern- 
ity by  publishing  them  here. 

In  his  letter,  Martin  G.  Wintcrton 
says  he's  a  real  dyed-in-the-wool  movie 
fan  and  sends  along  a  picture  of  him- 
self and  his  equipment  to  prove  it.  "I 


•  Rsel  Fellow  Winterton. 

consider  the  Reel  Fellows  an  excellent 
movement  to  establish  a  nation-wide 
Iraternity  of  movie  makers  and  to  pro- 
mote friendly  sportsmanship  in  this 
outstanding  hobby,"  wrote  Winterton. 
"It  has  been  my  pleasure  to  enjoy  ama- 
teur movie  making  uninterrupted  for 
over  ten  years  and  I  have  found  this 
hobby  can  lead  a  person  to  many  inter- 
esting places  and  circumstances." 

Reel  Fellow  Clarence  S.  Jordan,  92 
Julius  St.,  Hartford,  Conn.,  writes  he's 
eager  to  assist  brother  Reel  Fellows  by 
supplying  specially  filmed  footage  of 
subjects  in  his  area.  "If  there  is  any 
8mm.  footage  of  Hartford  wanted  by 
other  Reel  Fellows,  I'll  be  glad  to  ex- 
change same  for  8mm.  footage  of  capi- 
tol  buildings  of  any  state." 

Somewhere  on  the  bottom  of  the  At- 
lantic lies  the  Reel  Fellows  emblem  of 
member  E.  B.  Wright,  a  victim  of  the 
war.  "I  received  my  Reel  Fellows  em- 
blem and  identification  card  o.  k.",  re- 
lates Wright,  "and  needless  to  say  was 
delighted  with  it.  However,  I  found  the 


OF  MOVIE  AMATEU.1S 


REEL  FELLOWS 

This  department  chronicles  the 
doings  of  Reel  Fellows  from  coast  to 
coast.  Why  not  keep  your  brother 
Reel  Fellows  informed  of  your  activi- 
ties through  this  column?  Write  the 
editors,  giving  details  of  your  filming 
activities,  future  filming  plans,  or 
interesting  experiences  encountered 
through  your  affili;:tion  with  this 
fast  growing  organization. 

Any  photos  of  your  activities  will 
be  welcome  and  every  consideration 
will  be  given  to  their  publication 
when  space  permits. 


emblem  to  be  an  article  that  was  not 
lasting  enough,  so  am  asking  you  to 
send  another.  The  first  one  you  sent 
me  I  pinned  on  my  coat  lapel.  Eight 
days  later  the  o!l  tanker  on  which  I 
was  engineer  went  to  the  bottom  of  the 
sea  with  one  of  Hitler's  torpedoes  in 
it.  My  clothes  and  pin  went  along 
with  it. 

"However  I  did  manage  to  save  a 
wallet  containing  all  my  papers,  so  I 
still  have  my  identification  card.  I  also 
saved  my  camera,  which  I  had  aboard, 
and  which  was  loaded  with  Koda- 
chrcme,  and  I  think,  or  rather  hope,  I 
have  some  lifeboat  pictures  of  the  in- 
•  ConHiined  cn  Pa^c  2^4 

o  Reel  Feilow  Sederquist. 


33  yeaA4. 


MAGAZINE 


Subscription 
Order  Form 


HOME  MOVIES  FOR  JULY 


PAGE  26S 


WASHINGTON  IN  WARTIME!" 

OWN  A  STIRRING,  UP-TO-THE-MINUTE  RECORD  OF  ACTION  IN 
THE  CITY  WHERE  THE  DESTINY  OF  MAN  IS  BEING  SHAPED! 


Sin  in. 


16mm. 


Thrilling  pageant  of  our  Capital  in  wartime! 
Washington  in  high  gear .  .  .  going  day  and  night 
to  get  the  job  done  .  .  .fast!  Here  is  the  fascinating 
record  of  a  city  teeming  with  life  .  .  .  vibrant  with 
action!  Here  are  the  White  House  . .  .  the  War  and 
Navy  Departments . . .  other  crowded  government 
buildings!  Here  are  color ..  .excitement!  Hurrying 
diplomats!  High  officers!  Key  personalities ...  key 
figures!  Scenes  you  will  treasure  for  a  lifetime!  Be 
the  first  to  own  and  show  this  great  war  picture  on 
your  own  screen! 

All  Castle  16mm  are  treated  with  Vap-O-Rate.  All  8mm  are  also  treated 

"——ORDER 


OTHER  GREAT  CASTLE  FILMS'  WAR  MOVIES 

1.  "AMERICA'S  CALL  TO  ARMS."  America  springs  to  action  to  beat 
the  Axis! 

2.  "JAPS  BOMB  U.  S.  A."  Jap  attack  on  Hawaii!  Record  of  a  fateful 
day. 

3.  "BRITAIN'S  COMMANDOS  IN  ACTION."  Sensational!  Actual  battle 
scenes  in  Norway! 

4.  "U.  S.  NAVY  BLASTS  MARSHALL  ISLANDS."  Amazing,  filmed-un- 
der-fire  record  of  our  blitz! 

5.  "BOMBING  OF  PEARL  HARBOR"  and  "BURNING  OF  S.S.  NOR- 
MANDIE."  (Both  in  one  film.)  Fateful  page  in  U.  S.  history  as 
proud  ships  burn,  and  tragic  fate  of  560,000,000  luxury  liner. 

6.  "RUSSIA  STOPS  HITLER."  Grim,  gripping  battle  scenes  in  Russia's 
snows! 

7.  "MacARTHUR-AMERICA'S  FIRST  SOLDIER"  and  "BOMBING  OF 
MANILA."  (Both  in  one  film.)  Stirring  scenes  from  the  life  of 
America's  hero.  Awful  holocaust  of  war  in  bombed  Manila. 


FORM 

Send  Castle  Films'  '"Washington  in  Wartime  '  in  size  and  length  checked. 


RCA  BLDG. 
NEW  YORK 


FIELD  BLDG. 
CHICAGO 


RUSS  BLDG. 
SAN  FRANCISCO 


□ 

50  ft.  8  mm.    .  . 

$1.75 

□ 

180  ft.  8  mm.    .  . 

$5.50 

□ 

100  ft.  16  mm.    .  . 

$2.75 

□ 

360  ft.  16  mm.   .  . 

$8.75 

□ 

350  ft.  16  mm.    .  . 

$17.50 

(sound) 

□ 

Remittance  Enclosed 

□ 

Ship  C.  0.  D. 

Name- 


Address- 


City. 


State- 


Copr   1942  Castle  Kilms 


PAGE  264 


HOME  MOVIES  FOR  |ULY 


SALE! 

RAVEN  SCREENS 

(DUPLEX  MODEL) 

For  Movies  and  2x2  Slide 
Projection 


THE  CARRYING  CASE,  made 
of  the  best  grade  half  inch  white- 
wood,  has  lock  jointed  corners 
and  is  covered  with  handsome 
leatherette.  The  hardware  is  nickel 
plated  and  the  carr}-ing  handle  is 
made  of  sturdy  leather. 

To  erect  the  screen  the  upright  is 
raised  and  the  screen  is  then  raised 
and  the  batten  ring  is  attached  to 
the  hook  on  the  telescoping  mem- 
ber. The  screen  is  then  rectangu- 
lar (for  showing  movies)  as 
shown  by  the  rear  view  "real" 
illustration,  or  it  may  be  raised  to 
the  square  height,  as  shown  in 
"phantom."  A  snap  catch  auto- 
matically centers  and  locks  the 
screen  in  place. 

The  Screen  is  made  of 
Haf-tone  material. 

Size  48  in.  x  48  in. 
REGULARLY  $33.00 


Mail  Orders  filled 


no  West  32nd  Street,  N.  Y. 

World's   Largest  Camera  Store 
Built  on  Square  Dealing 

Established  i  S9? 


The  Reader 


Paper  for  Titles 

Here's  a  tip  for  you  titlers: 
Dear  Sirs:  I  note  from  the  article  ap- 
pearing in  the  March  issue  of  Home 
Mo\^ES  entitled  "How  to  Make  Your 
Titles  Black"  the  point  is  brought  out 
that  certain  papers  do  not  produce 
good  results  when  used  for  title  cards. 
This  leads  to  subject  of  the  titles  print- 
ed in  your  magazine  each  month.  The 
paper  on  which  Home  Movies  is  print- 
ed has  a  semi-gloss  surface  and  reflects 

I  light  when  titles  are  filmed  under  artifi- 
cial illumination  unless  lights  are  care- 
fully placed.  After  some  experimenting, 

I  I  found  best  results  can  be  had  by  film- 
ing  these   titles  out  of   doors   in  the 

'  shade   where    there's    ample   light  for 

i  good  exposure.  In  other  words,  I  find 
your  titles  photograph  best  under  dif- 
fused light  or  when  harsh  light  does 
not  strike  them  directly.  Believe  this 
may  be  of  interest  to  all  your  readers. 

— J  as.  Kei:rney, 
Tulsa,  Ok'.a. 

Let's  Help  the  Boys! 

Here's  a  simple  request  that  should 
finJ  immediate  response  among  cine- 
fans  eierywhere.  If  yoit  haie  no  film 
to  give,  why  not  loan  it  to  these  boys? 
j      Dear  Editor:  If  you  can  find  space  in 
I  your  column,  "The  Reader  Speaks,"  I 
!  would  like  to  ask  some  of  your  readers 
if  they  have  some  odds  and  ends  in 
8mm.  film  that  they  are  tired  of.  Many 
of  the  boys  in  camp  have  nothing  to  do 
at  night  and  I  would  be  glad  to  show 
them  any  films  thus  obtainable  as  long 
as  my  projector  -will  hold  out. 

— /.  -M.  Castelucio, 
Tech.  Sgt..  Ord.  Dept. 
j  fort  Meade,  So.  Dakota 

Correction 

We  regret  space  did  not  afford  a 
more  complete  description  of  the  Baia 
Cine  Transito,  Jr.,  on  page  191  of  the 
May  issue.  Apologies  are  due  our  read- 
ers as  uell  as  the  manufacturer. 

Gentlemen:  In  looking  over  your 
article,  "How  to  make  fade-ins  and 
fadeouts"  in  the  May  issue,  we  note 
the  statement  that  the  Baia  Cine  Tran- 
sit©, Jr.,  is  controlled  and  motivated  by 
cable  release.  ''JTe  wish  to  correct  you  on 
this  by  stating  that  this  accessor}'  is 
operated  by  spring  motor,  the  stopping 
and  starting  of  which  is  controlled  by 
cable  release. 

— Baia  Motion  Picture  Engr.  Co., 
I  Highland  Park,  Mich. 


s  p  E  u  s 


Revere  Backwind 

//  you  can  help  this  reader.  Home 
Movies  would  like  to  know  about  it, 
too.  We'll  gladly  publish  plans  and  de- 
scription of  your  backwind. 

Dead  Editor:  I  have  a  Revere  Double 
8mm.  model  88  camera  for  which  I 
would  like  to  build  and  install  a  back- 
wind.  Do  you  have  any  information  on 
how  this  can  be  done  or  know  of  any 
cinebug  who  can  furnish  plans? 

— Xed  K  or  they, 
606  E.  Palm  Aie., 
Burbank,  Calif. 

Sound  Fan 

We  refer  this  reader,  as  well  as  others 
interested  in  sound  for  movies,  to  Arch 
Sanders,  Oregon  Coast  Highway  Ass'n., 
Marshfield,  Oregon.  Other  sound  fans 
ue  are  sure  also  will  be  interested  in 
corresponding  jcith  reader  Ford: 

Gentlemen:  Can  you  give  me  the  ad- 
dresses of  a  few  fellow- 1 6mm.  filmers 
who  experiment  with  sound  for  home 
movies  so  that  I  may  correspond  with 
them?  And  how  about  more  articles  on 
the  subject? 

— Art  ford, 

1 1 14  Hartzell  Ate., 
Siles,  Ohio 

Do  You  Title? 

//  you  dabble  with  positive  film  ti- 
tles, here's  a  plea  from  a  kindred  hob- 
byist: 

Gentlemen:  I  would  appreciate  if  you 
would  mention  in  your  "Reader  Speaks" 
column  that  I'd  like  to  correspond  with 
other  amateurs  who  use  tinted  posi- 
tive film  for  titles,  for  the  purpose  of 
learning  more  about  procedure  involved 
and  results  obtained. 

— C.  A.  Starkueather, 
411  A'.  Spring  St., 
Beat  er  Dam,  'Wise. 

Footage  Wanted 

Following  is  request  for  needed 
scenes,  probably  available  from  other 
amateurs.  Readers  in  need  of  footage 
of  distant  towns,  cities,  or  objects  are 
iniited  to  make  their  needs  known  in 
this  column  uitlmut  obligation. 

Dear  Editor:  I  wish  to  obtain  50 
feet  or  more  of  8mm.  film  of  the  Amer- 
ican Legion  parade  held  at  the  Milwau- 
kee convention  last  year. 

— Ralph  I.  Pennell, 
1711  "Warren  Blid., 
Chicago,  III. 


m 


ijifi 


1^ 


CAMERA 


REVERE  "99" 

has  a  rotating  turret  head 
for  3  lenses  and  an  extra  op- 
tical view  finder  for  use  with 
telephoto  lenses.  Mechani- 
cal features  same  as  in  mod- 
el 88.  Complete  with  one 
Wollensak  F  2.5 
lens   $77.50 


REVERE  "88" 

IS  simple  to  load  and  to  op- 
erate. Uses  economical  8mm. 
filrn,  color  or  black-and- 
white.  Eastman-licensed 
spool  and  spindles,  5  speeds 
(including  slow  motion), 
exclusive  reciprocating 
sprocket  film  control  (pre- 
vents tugging  on  film  gate) 
for  sharp,  steady  movies. 
Complete  with  Wol- 
lensak F  3.5  lens...   $38.50 


With  a  Rei  cic,  yon  can  take  thrilling  color 
movies  as  easily  as  you  now  take  snapshots. 


Rev^e 


The  fine  movies  that  you  get  with  a  Revere  8mm.  Camera  of 
Victory  Gardening  and  other  outdoor  activities  of  the  summer 
season  will  bring  you  and  your  friends  hours  of  entertainment  all 
year  long.  The  fine  lens  and  precision-built  mechanism  of  the 
Revere  make  it  easy  to  take  movies  of  which  you  will  be  truly 
proud.  The  Revere's  cxclusii  e  reciprocating 
sprocket  film  control  and  other  advanced 
features  help  you  get  the  sharpest,  steadiest 
home  movies  you  have  ever  seen.  Ask  your 
dealer  for  a  demonstration!  Write  for  litera- 
ture. Revere  Camera  Co.,  Dept.  7HM,  320 
E.  2ist  St.,  Chicago,  111. 

REVERE  8MM.  PROJECTOR 

Its  time-proved  500-watt  optical  system,  with 
F  1  .6  lens,  shows  8mm.  movies  at  their  bright- 
est. Model  80  (shown  here)  complete  with 
lamp,  lens  and  one  300-foot  reel,  $75.00. 
Model  85,  same  as  '80"  plus  beam  threading 
light,  micro-tilt,  light  diffuser,  and  de  luxe 
carrying  case,  $89.50. 

★★★★*★★★★★★★★★*★★★★★★* ★★★★ 

U.  S.  WAR  SAVINGS 

BONDS  AND  STAMPS /(4ti^/ 
★★★★★★★★  ★★★★  ★★★★  ★★★★  *★★★ 


PACE  266 


HOME  MOVIES  FOR  JULY 


announcing! 

Aurkon 

SOUND 
CAMERA 

for  16  mm  sound  ■  on  -  film 


information  mm 


•k  Simplified  Threading 
■*■  High  Fidelity  Sound 

Self-contained  in  sound  proof  "blimp." 

*  Minimum  equipment;  maximum  portabil- 
ity. Camera  and  Amplifier,  complete, 
weigh  only  thirty-seven  pounds. 

*•  Kodachrome  or  black  and  white  pictures 
with  Auricon  sound  track  will  reproduce 
on  any  sound-film  projector. 

*  Synchronous  electric  motor  driven. 

*  Can  be  operated  in  the  field  from  an 
Auricon  Portable  Power  Supply. 

*  Daylight  loading  spools  with  200-foot  film 
capacity. 

*  Auricon  Camera  with  type  "C"  lens  mount 
(but  without  lens)  and  Amplifier  complete 
with  microphone,  instructions,  and  cases 

S880.00 


AURICON  16  mm  RECORDER 

•k  Variable-area  sound  on  film,  for  double 
system  recording  with  a  synchronous  motor 
driven  16  mm.  camera.  Amplifier  has  back- 
ground-noise reduction  and  mixers  for  com- 
bining speech  and  music.  With  dynamic 
microphone,  instructions  and  cases  for  Re- 
corder, Amplifier,  Accessories  ....  S695.00 

Ask  your  Dealer,  or  write  today 
for  free  descriptive  booklet. 

AURICON  :buM^, 
E.  M.  BERNDT  CORP. 

5515  SUNSET  BLVD  ,  HOLLYWOOD,  CALIF. 


Filming  Faults  (Earl  Widdecombe, 
Okla.  City.,  Okla.) 

Q.  I'm  just  a  beginner,  have  shot 
jiist  two  rolls  of  black  and  white  film, 
and  so  far  hare  not  had  much  luck. 
Scenes  are  not  sharp  or  too  "fuzzy,"  etc. 
Can  you  suggest  how  I  can  improve  my 
pictures? 

A.  It's  impossible  to  diagnose  your 
trouble  without  first  screening  your 
film.  Xo  doubt  its  from  lack  of  experi- 
ence or  perhaps  we  should  say  it's  due 
to  lack  of  study  of  your  camera  in- 
struction book.  Eastman  Kodak  Com- 
pany include  a  little  folder  with  all 
films  returned  after  processing  which 
lists  some  of  the  most  common  movie 
making  faults  and  suggested  remedies. 
We  reprint  it  here  for  your  informa- 
tion, believing  careful  study  will  en- 
able you  to  promptly  improve  your  pic- 
ture making: 

Underexposed  pictures  are  general- 
ly dark  and  lack  detail.  Cause:  Camera 
diaphragm  opening  too  small  or  insuf- 
ficient light.  Remedy:  Careful  observ- 
ance of  exposure  instructions  enclosed 
with  film. 

Overexposed  pictures  are  too  light 
and  lack  highlight  detail.  Cause:  Cam- 
era diaphragm  opening  too  large.  Rem- 
edy: Careful  observance  of  exposure 
instructions  enclosed  with  film. 

Unsteady  Pictures.  Any  unsteadi- 
ness of  the  camera  is  magnified  on  the 
screen.  Hold  camera  as  steady  as  pos- 
sible and  patioram  only  where  necessary, 
and  then  l  ery  slowly. 

B. \CK -Lighted  and  Side-lighted  pic- 
tures may  have  objectionably  heavy 
shadows  and,  possibly,  lens  flare.  Cause: 
Sun  in  front  or  to  side  of  camera.  Rem- 
edy :  "^'Tiere  possible  use  flat  light  with 
the  sun  behind  the  camera.  Flat  light  is 
preferable  for  color  pictures,  the  color 
furnishing  all  contrast  necessary. 

Clear  Areas.  Stray  light  entering 
the  camera,  causes  the  image  to  become 
entirely  or  partially  transparent,  but  the 
film  may  still  show  some  color.  Cause: 
Beginning,  end,  or  edge  fog  is  caused  by 
exposure  of  the  film  to  light;  usually 
due  to  incorrect  loading  or  unloading. 
Center  fog  occurs  when  the  cover  is  re- 
moved from  a  camera  containing  a  par- 
tially exposed  film. 

Out  of  Focus  pictures.  Cause:  In- 
correct setting  of  focus  scale.  Remedy: 
Judge  distances  accurately  and  adjust 
the  focusing  scale  carefully. 

Loss  of  Loop  produces  a  double  im- 
age, or  pictures  that  are  badly  blurred. 
Cause:  Short  loop  between  gate  and 
sprocket  due  to  improper  threading  or 


•  Readers:  This  department  is  jot  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


camera  out  of  adjustment.  Remedy: 
Thread  camera  carefully  following  in- 
struction manual,  or  return  to  manu- 
facturer for  inspection. 

Cloudy  or  Flat.  Cause:  Lens  of 
camera  or  projector  veiled  with  dust 
or  oil.  Remedy:  Keep  lenses  and  filters 
clean. 

Camera  Scratches  are  continuous 
or  intermittent  perpendicular  lines. 
Cause:  Incorrect  threading  of  film  or 
an  accumulation  of  dirt  and  emulsion 
particles  in  camera  gate.  Remedy:  Care 
in  threading  and  cleaning  of  gate,  fol- 
lowing instructions  outlined  in  your 
camera  manual. 

Camera  Light  Leak  causes  clear  or 
colored  flashes  on  the  film  at  or  near 
a  scene  change.  A  severe  light  leak  may 
produce  streaks  throughout  the  roll. 
Cause:  Camera  cover  not  properly  at- 
tached or  has  been  sprung,  preventing 
a  light-tight  fit,  or  some  leak  in  case. 
Remedy:  Return  camera  to  the  manu- 
facturer for  repair. 

The  following  applies  particularly  to 
Kodachrome: 

Yellov  Filter  destroys  the  correct 
color  balance  and  makes  the  pictures  too 
yellow.  Only  the  Haze  and  Photoflood 
Filters  designed  for  the  Kodachrome 
Film  (Regular)  or  the  Type  A  Koda- 
chrome Filter  for  Daylight  for  the  Type 
A  Film  are  recommended. 

ExcEssn'E  Redness.  Cause:  Early 
morning  or  late  afternoon  sun  has  an 
overabundance  of  red.  Remedy:  Unless 
photographing  sunrise  or  sunset,  pic- 
tures should  not  be  made  too  soon  af- 
ter sunrise  or  too  near  sunset. 

Excessive  Blueness.  Cause:  Type 
A  Kodachrome  film  used  in  daylight 
without  a  filter.  Type  A  Film  used  in 
artificial  light  with  Kodachrome  filter 
for  photofloods;  or  used  with  "daylight" 
or  blue  photoflood  lamps.  Remedy:  Use 
Type  A  Kodachrome  filter  for  daylight 
with  type  A  Kodachrome  film  when 
subject  is  in  daylight.  When  type  A 
film  is  used  in  artificial  light,  Photo- 
flood lamps  are  recommended  for  illum- 
ination without  use  of  filter.  All  day- 
light should  be  excluded  from  the 
scene, 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


HOME  MOVIES  FOR  JULY 


PACE  267 


REVIEWS... 


o/  cAmateur  lilmA 


B  y 


S       C        H        O       E  N 


Three  scenario  films  have  been 
selected  for  review  here  this  month  for 
the  opportunity  they  present  to  offer 
constructive  criticism  in  a  type  of 
movie  making  in  which  many  amateurs 
are  less  skillful.  Filming  a  scenario  is  a 
pretty  difficult  task  for  a  one-man  pro- 
ducing unit  that  must  serve  as  camera 
man,  director,  script  clerk,  title  maker, 
editor,  etc.  Most  amateurs  excel  in  one 
particular  phase  of  movie  making  and 
rate  all  the  way  from  good  to  poor  in 
the  other  departments. 

Because  this  has  become  increasingly 
evident  from  the  number  of  amateurs 
who  lately  are  producing  the  more  seri- 
ous type  of  picture,  it  is  all  the  more 
necessary  that  amateurs  recognize  their 
shortcomings  and  set  about  to  rectify 
them  if  ambitious  filming  efforts  are 
to  be  successful. 

Ernest  H.  Brown,  who  recently  com- 
pleted "The  Expensive  Key,"  a  i6mm. 
Kodachrome  picture  running  300  feet 
in  length,  has  done  a  marvelous  job 
with  his  camera.  But  unfortunately  his 
story  does  not  measure  up  to  his  tech- 
nical abilities.  The  story  concerns  a 
tramp  who  arrives  in  a  town  by  freight, 
begs  a  half  dollar,  gets  drunk  and  kid- 
naps a  child.  He  makes  his  escape  in  the 
car  of  the  child's  father,  the  key  of 
which  he  had  stolen  earlier.  The  child 
escapes  from  the  kidnapper's  shack  and 
the  kidnapper,  in  pursuing  her,  is  run 
down  and  killed  by  a  motorist.  The 
child  is  rescued  and  returned  to  her 
parents. 

This  filmer  failed  to  state  the  camera 
or  lenses  used,  but  his  resultant  expos- 
ures are  perfect  with  all  shots,  interior 
as  well  as  exterior,  sharply  focused. 

Titling,  too,  is  good.  Titles  were 
composed  of  block  letters  of  the  Knight 
type  and  nicely  arranged  and  photo- 
graphed, often  with  impressive  fade  or 
iris  effects.  Main  and  credit  titles  were 
superimposed  over  scenic  backgrounds 
and  correct  exposures  are  an  outstand- 
ing feature  of  this  double  filming. 

Additional  cutting  would  aid  the 
story  considerably.  Action  could  be 
speeded  up  in  the  opening  sequence 
showing  tramp's  arrival  in  town,  by 
cutting  directly  from  shot  of  a^nro.Tch- 
ing  train  to  shot  of  tramp  climbing 
down  from  freight  car,  thus  saving 
two  scenes.  Also  there  is  much  unex- 
plained  action   as   when   tramp  takes 


wad  of  paper  from  trash  can  then  re- 
turns it  without  indicating  why.  In  the 
early  part  of  the  story,  the  tramp  is 
shown  walking  the  main  street  of  the 
town;  but  there  is  too  much  footage  de- 
voted to  this  before  he  finally  gets 
down  to  the  business  of  begging  a  coin, 
then  going  into  the  bar  for  a  drink. 

In  the  bar,  the  first  of  several  illogical 
activities  takes  place.  Here  the  tramp  is 
shown  offering  the  bartender  the  fifty 
cent  piece,  for  which  the  bartender 
places  a  half  dozen  drinks  before  him. 
This  might  have  been  more  convincing 
had  the  scene  been  staged  in  a  second 
rate  "skidrow"  dive  instead  of  an  at- 
tractive cocktail  bar.  Then  in  the  clos- 
ing sequences,  after  the  tramp's  demise 
by  automobile,  the  rescuer  returns  the 
child  to  its  home  without  any  indication 
being  given  as  to  how  he  knew  child's 
address.  The  child  apparently  was  too 
young  to  give  this  information. 

A  few  retakes  and  a  little  more  trim- 
ming at  the  editing  board  will  make 
this  a  first  rate  picture. 

edded  Bliss-ters"  is  a  clever  com- 
edy that  requires  only  a  little  cutting 
and  re-editing  to  improve  its  chances  as 
a  contest  winner.  Running  150  feet  in 
8mm.  black  and  white,  it  was  produced 
by  H.  E.  Swanson  of  San  Francisco. 
Story  is  based  on  the  turnabout  idea — 
the  husband  changing  places  with  the 
wife,  but  in  this  case,  in  a  dream. 

The  husband  comes  home  from  work 
to  find  no  dinner  prepared.  When  he 
chides  his  wife  for  the  delay,  she  relates 
the  extent  of  her  day's  chores  and  this 
is  shown  in  split  stage  montage  effect. 
As  the  wife  hurries  to  prepare  dinner, 
the  husband  retires  to  an  easy  chair  in 
the  parlor  and  soon  falls  asleep.  He 
dreams  he  is  the  housewife  and  we  see 
h:m  arising  in  the  morning  in  the  garb 
of  a  woman,  tidying  his  hair,  then 
cooking,  washing  and  tending  other 
household  duties.  In  the  midst  of  this, 
his  wife  in  overalls — now  in  his  role  as 
the  worker — comes  home  bandaged  and 
with  a  leg  in  a  plaster  cast.  She  explains 
how  she  fell  from  a  scaffolding  on  the 
job  and  was  sent  to  the  hospital  "for 
repairs." 

The  husband  awakes  when  his  wife 
calls   him   to  dinner  and  he  shows  a 
•  Continued  on  Page  294 


THE 
INQUIRING 
PHOTOGRAPHER 


Queftion: 


Why  have  You  Switched  to 
KIN-O-LUX  Movie  Films? 


Because  I  get  the  same  fine 
quality  results  as  I  used  to 
with  another  film  costing 
much  more. 


I  like  the  way  you  "get"  a 
picture  with  its  speed  and 
remarkable  latitude. 


When  I  saw  the  projection 
quality  of  my  first  roll  of 
KIN-O-LUX  I  knew  I'd 
found  just  the  film  I  was 
looking  for. 


The  price  suits  me — and  my 
photography  budget. 


When  I  saw  so  many  ex- 
perienced and  accomplished 
cinematographers  using 
KIN-O-LUX  I  said  "Who 
am  I  to  buck  the  trend.''" 


KIN-O-LUX 


Outdoor 

We$fon  8;  Scheiner  18° 
$3.20-100  ft. 

Oufdoor 

Wesfon  12;  Scheiner  20° 
$3.75-100  ft. 

Indoor  •  Oufdoor 

Wesfon  50;  Tung.  40 
Scheiner  26  ;  Tung.  24 
_  $6.00-100  ft. 

3.  GOLD  SEAL  /ndoof  Olt// 

Wejion  100;  Scheiner  29° 
(No  Outdoor  Ratings) 
$6.40-100  ff. 


KIN-O-lUX    •    105  W.  40  ST.    •    NEW  YORK 


Two  for  the  show 


WHEN  you  show  the  movies 
you  take  this  Summer,  you'll 
want  the  good  screen  brilliance  and 
contrast  characteristic  of  the  best  pho- 
tography. So,  consider  these  two  Agfa 
Ansco  films  for  your  8  and  16nim. 
work — Twin-Eight  or  16mm.  Hypan 
Reversible. 

Hypan  is  an  excellent  choice  as  an  all- 
purpose  film.  Its  high  speed,  excep- 
tional  brilliance,    full  panchromatic 


sensitivity,  fineness  of  grain  and  wide 
latitude  are  your  assurance  of  great 
results  with  either  outdoor  or  indoor 
subjects. 

16mm.  Hypan  is  available  in  100  ft. 
rolls  at  $6.40;  in  50  ft.  rolls  at  S3. 45. 
Twin-Eight  Hypan  is  only  $2.40  for 
double-width  25  ft.  rolls.  Prices  in- 
clude processing  and  return  postage. 
Agfa  Ansco,  Binghamton,  New 
York. 


Agfa  Ansco 

8inm.  and  16tnm.  HYPAN 
REVERSIBLE  FILM 


MADE  IN  U.S.A. 

100    YEARS  OF 
SERVICE   TO   AMERICAN  PHOTOGRAPHY 


HOME  MOVIES 


Published  in  Holl}wood 
JllY  1942 


If,  between  your  patriotic 
activities  as  air  raid  warden,  Red  Cross 
worker,  U.  S.  O.  aid,  or  Bond  selling 
campaigner,  you  can  find  time  for  a 
little  home  movie  filming  this  summer, 
it  probabily  will  be  when  the  circus 
comes  to  town.  Everything  short  of 
war  stops  when  the  "big  top"  arrives, 
and  this  year  the  circus  offers  all  a  ma- 
jor opportunity  for  really  interesting 
filming  now  that  gasoline  and  tire  ra- 
tioning makes  touring  for  movies  out 
of  the  question. 

Rivaling  flower  gardens  and  autumn 
foliage  as  subjects  for  color  filming  are 
the  gay  posters,  street  parade,  sideshow 
banners,  bizarre  costumes,  and  the  in- 
evitable balloon  peddler,  all  of  which 
contribute  to  the  perennial  atmosphere 
of  the  circus.  Indeed  all  of  these  afford 


3deaS  for  filming,  tke  0 1 R  l  U  S 


equally  colorful  contrasts  for  black  and 
white  filming,  too. 

Filming  a  circus  is  most  easily  treat- 
ed in  a  documentary  fashion  unless  the 
big  show  is  to  remain  in  town  several 
days,  thereby  affording  the  time  re- 
quired for  scouting  locations  and  mak- 
ing shots  at  the  right  time  of  day  for 
scenarized  pictures  on  the  subject.  But 
for  the  most  of  us,  we  simply  want  to 
bring  our  camera  along  and  "shoot  as 
we  go."  This  does  not  necessarily  mean 
shooting,  aimlessly,  a  succession  of  cine 
snap  shots.  A  little  planning  in  ad- 
vance, an  admonition  frequently  voiced, 
will  result  in  a  documentary  of  the  cir- 
cus that  will  have  lasting  appeal. 

Our  planning  in  advance  concerns 
the  idea  around  which  our  circus  action 
will  revolve  or  perhaps  a  better  way  to 


W 


state  this  is:  our  planning  should  con- 
cern the  continuity  idea  or  series  of 
tie-up  shots  which  we  must  make  that 
can  be  intercut  among  our  circus  shots 
to  mold  the  whole  into  an  entertaining 
picture. 

Probably  the  most  appealing  manner 
in  which  to  present  our  picture  is 
through  the  eyes  of  a  child.  In  a  way, 
children's   entertainment    and  circuses 


•  Here  is  the  main  title  for 
your  circus  film.  Made  espe- 
cially for  typewriter  titlers,  it 
should  be  cut  out  and  pasted 
on  a  card  of  the  size  that  fits 
titler. 


are  synonomous.  Circuses  are  staged 
especially  to  appeal  to  children.  Small 
boys  yearn  to  join  the  circus.  Little  girls 
admire  the  costumed  bareback  riders. 

•  Continued  on  Page  286 


269 


PACE  270 


HOME  MOVIES  FOR  JULY 


FILMliG 


lirH  movie 


The  seventh  of  a  series  of 
lessons     for     the  beginner 


STAN 


E  Y 


ANDREWS 


HEN,  in  January,  we  began 
the  first  of  our  series  of  12  lessons  for 
the  beginner  on  how  to  make  amateur 
movies,  it  was  our  aim  to  guide  our 
class  of  students  progressively  through 
each  of  the  fundamental  steps  of  mak- 
ing good  pictures.  We  began  by  describ- 
ing the  function  of  camera  and  lens; 
then  we  explained  the  characteristics  of 
lenses  and  of  films;  we  dealt  with  the 
hows  and  whys  of  exposure  meters;  the 
value  of  mviltiple  camera  speeds;  and, 
last  month,  the  purpose  and  function 
of  filters. 


Now  we  have  arrived  at  the  stage  of 
shooting  pictures  —  theoretically,  of 
course.  Obviously,  we  did  not  expect 
an  amateur  with  a  brand  new  camera 
to  put  off  using  it  until  after  this  sev- 
enth lesson.  But  assuming  you  have 
been  a  constant  student  of  our  begin- 
ner's class,  have  carefully  assimilated 
what  information  we  have  offered  to 
date,  you  are  now  ready  to  go  along 
with  the  class  on  its  initial  filming  ex- 
pedition. We  won't  bother  with  details 
of  exposure,  focusing,  etc.  You've  had 
your  lessons  on  those  subjects  and  will 


know  when  and  what  to  do  with  both. 
We're  concerned  now  with  shooting 
a  movie  that  will  have  continuity,  com- 
pelling interest,  and  good  photographic 
quality.  Amateurs  are  constantly  as- 
sailed with  the  term  continuity.  Some 
may  be  tired  of  it;  others  yet  may  not 
know  its  full  meaning.  However,  let  it 
be  impressed  upon  all  beginning  ama- 
teurs that  every  movie  must  have  con- 
tinuity if  it  is  to  be  a  successful  picture. 

To  have  continuity,  a  movie  — 
whether  it  be  a  mere  25  feet  of  8mm. 
or  400  feet  of  i6mm. — must  have  a 
recognizable  beginning  and  an  end. 
And  this  applies  to  films  on  any  sub- 
ject: scenics,  travel  or  vacation  pic- 
tures, or  record  movies  of  the  baby. 
Take  movies  of  the  baby  for  instance. 
That's  where  most  home  movies  start, 
anyway.  Its  just  as  easy  to  begin  such 
movies  cleverly  and  to  make  each  scene 
link  with  that  preceding  and  suceeding 
it,  as  to  shoot  hit  or  miss. 

The  easy  way  for  the  unimaginative 
individual  is  to  train  his  camera  on  the 
baby  and  shoot.  But  that's  still  picture 
technique.  Let's  plan  a  continuity  se- 
quence for  a  baby  picture.  We'll  assume 
its  a  new  arrival  in  the  family,  just 
home  a  week  or  so  from  the  hospital. 
We  want  to  make  some  movies  of  her  so 
we'll  have  a  record  of  what  she  looked 
like  at  this  age. 

Let's  set  the  stage  for  this  sequence 
out  on  the  porch — in  the  shaded  area 
where  bright  sun  won't  hurt  baby's 
eyes,  but  where  there's  enough  reflected 
light  to  permit  good  exposure.  Place 
mother  and  baby  at  ease,  in  a  natural 
position.  Make  a  shot  from  a  distant 
spot  of  mother  fondling  the  youngster, 
perhaps  bending  over  the  bassinet  or 
baby  carriage,  talking  baby  talk,  etc. 
Move  in  now  for  the  next  shot  —  a 
closeup  of  mother  from  a  low  angle  as 
she  fondles  or  talks  to  the  baby.  Moth- 
•  Continued  on  Page  293 


•  Most  important  in  shooting  pic- 
tures of  children  and  pets  is  to  make 
one  or  more  shots  in  close-up.  Close- 
ups  increase  human  interest,  give 
audiences  opportunity  to  study  sub- 


HOME  MOVIES  FOR  JULY 


l^ATURE  photography  with  a 
cine  camera  is  a  combination  of  two 
hobbies,  the  oldest  hobby  and  the  new- 
est. The  earhest  records  left  by  pre- 
historic man  show  his  interest  in  the 
world  around  him;  his  drawings  made 
on  the  walls  of  caves  are  evidence  of 
this.  All  through  the  ages  men  have 
interested  themselves  in  the  study  of 
plants,  animals,  insects,  and  birds — 
studying  their  lives  and  habits,  and,  as 
a  hobby,  it  has  always  been  satisfying. 
On  the  other  hand,  the  newest  hobby, 
excluding  fads,  is  the  making  of  ama- 
teur motion  pictures.  This  hobby  is 
about  twenty  years  old,  and  the  other 
about  twenty  thousand.  And  so  we  have 
a  union  of  hobbies,  one  from  the  old 
stone  age,  another,  machine  created,  an 

outlet  for  man's  primitive  and  modern 

Fred  ChaJde 


1 1  0  S  E  ■  U  P  filming,  o/  bee^,  butter- 

llgA  and  blo^^om^ 


interests,  in  the  creation  of  motion  pic- 
tures of  the  natural  world. 

In  nature  cinematography,  care  must 
be  exercised  in  the  choice  of  subject. 
The  most  important  thing,  in  fact  the 
only  reason  for  the  existence  of  motion 
pictures,  is  interest,  and  the  interest 
must  be  a  moving  one.  Consequently, 
motion  pictures  of  flowers  with  nothing 
happening  are  not  of  much  interest.  If, 
however,  the  picture  is  a  time-lapse  one 
of  the  flower  opening,  or  a  bee  work- 
ing on  it,  or  its  functions  are  being 
demonstrated,  it  is  another  story.  On 
the  other  hand,  small  animals  and  in- 
sects produce  very  interesting  pictures. 
The  most  difficult  part  is  to  get  them  to 
act,  and  this  is  one  of  the  fascinations 
of  this  type  of  work. 

The  most  important  problem  in  ap- 


M 


plying  the  cine  camera  to  nature  pho- 
tography is  focusing  on  small  objects. 
Most  cine  cameras  are  equipped  to  fo- 
cus on  objects  from  infinity  to  two  feet. 
Their  lenses  are  not  calibrated  for  short- 
er distances  for  the  reason  that  depth  of 
focus  decreases  rapidly  as  the  plane  fo- 
cused upon  approaches  the  camera,  and 
it  becomes  impractical  to  estimate  the 
subject  distance  accurately  enough  to 
insure  sharp  focus.  Moreover,  the  finder 
systems  available  at  the  present  time 
are  not  valid  for  very  short  subject 

Fig.  2 


•  This  focusing  frame 
may  easily  be  construct- 
ed by  any  amateur. 
Similar  to  a  titler,  it 
includes  auxiliary  lens 
holder  and  wire  frame 
which  defines  field  for 
ultra-close-up  filming  of 
nature  subjects. 


M 


d  stances,  because  of  the  displacement  of 
the  finder  axis  from  the  camera  lens 
axis.  The  result  is  that  the  camera  suf- 
fers from  a  sort  of  presbyopia.  Over- 
coming this  affliction  will  permit  the 
application  of  the  movie  camera  to  na- 
ture photography.  Classified  according 
to  focusing  distance  and  field  size,  there 
are  four  subject  classes  in  nature  pho- 
tography: 

1.  Normal  objects  at  normal  distances, 
which  can  be  photographed  with- 
out additional  equipment. 

2.  Small  objects,  normally  examined 
at  about  ten  inches.  The  majority 
of  subjects  fall  in  this  class. 

3.  Small  objects  which  cannot  be  close- 
ly approached,  for  example,  birds. 

4.  Very  small  objects,  v/hich  are  ex- 
amined through  a  magnifying  glass. 

Means  for  filming   the  second  and 
fourth  classes  are  offered  here.  The  prin- 
•  Continued  on  Page  2X3 

271 


PACE  272 


HOME  MOVIES  FOR  )ULY 


By  GEORGE 

D 

Headers  may  remember  that 
in  last  month's  article,  we  introduced 
our  amateur  film  actors  in  Hollywood- 
like studio  settings  by  means  of  trick 
photography  and  the  table  top  model 
rigged  up  on  the  Frame  described  in  the 
March  issue.  These  effects  were  obtained 
by  use  of  either  the  split  screen  or  neu- 
tral backgrounds  and  double  exposure, 
^"^ith  these  mediums,  life  size  human 
actors  were  made  to  play  their  parts  on 
a  lavish  set  of  very  small  dimensions — 
a  foreground  model,  not  more  than  a 
foot  or  two  in  width. 

Now  it  is  but  a  single  step  forward 
to  obtain  the  combination  of  human 
actors  and  animated  puppets  and  scenes. 
For  the  second  exposure  on  the  models, 
single  frames  are  exposed,  one  at  a  time, 
the  necessar)^  movement  of  the  scene  or 
puppet  being  made  between  each.  Al- 


A      .  C      A      U      L  0 

though  this  process  may  be  somewhat 
tedious  and  calls  for  careful  timing, 
vast  new  fields  are  oj5ened  up  for  the 
cinebug.  The  "Alice  in  Wonderland" 
film  is  no  longer  a  dream  but  a  real 
practical  possibility. 

An  example  of  the  animated  model 
set  is  shown  in  Fig.  i.  The  scene  de- 
picts the  interior  of  a  clock  tower  and 
the  two  small  boys  are  seen,  peering 
over  the  balcony,  watching  the  wheels 
go  'round.  The  model  set  is  built  up 
between  Stage  A  and  B  on  the  Frame, 
the  large  cog  wheel  in  the  top  left  hand 
corner  being  set  hard  up  against  Stage 
B,  receiving  no  illumination  and  there- 
fore appearing  in  silhouette,  giving 
depth  to  the  picture.  The  cog  wheels 
are  cut  to  the  full  circle  and  arranged 
on  pins  so  that  they  may  be  rotated. 
In  addition,  a  small  jjendulum  is  rigged 


up  near  the  main  source  of  light  so  as 
to  cast  a  strong  shadow  across  the  set. 
This  is  made  to  swing  slowly  backwards 
and  forwards,  throwing  an  eerie  shadow 
backwards  and  forwards  across  the  set 
in  time  with  the  movement  of  the  cog 
wheels,  for  it  must  be  remembered  that 
they  should  move  in  jerks,  not  contin- 
uously, because  of  the  escapement  gear. 

An  opening  is  cut  in  the  backdrop 
above  the  balcony  covering  both  the 
door  and  door  opening.  This  opening  is 
used  as  the  mask,  and  after  the  whole 
Frame  has  been  draped  in  a  black  cloth 
to  exclude  unwanted  light,  the  appar- 
atus is  set  up  and  focused  on  the  chil- 
dren standing  on  a  box  in  a  genuine 
full-sized  doorway.  In  this  way,  they 
can  push  the  door  open,  come  forward 
a  little  and  move  from,  side  to  side  with- 
in the  limits  of  the  doorway  and  in 
front  of  the  open  door.  A  black  drape 
should  be  hung  all  round  the  actual 
•  Continued  on  Page  29; 

•  Pictures  below  are  stills  of  actual 
sets  used  by  author  Gauld  in  filming 
16mm.  movie  in  which  masking  and 
split-stage  photography  was  employed 
for  illusive  and  fantastic  effects. 


HOME  MOVIES  FOR  JULY 


PACE  273 


H  OW  to  edit  A 


ome  movies 


iFTER  a  roll  of  film  is  exposed,  pro- 
cessed, then  screened,  there  is  a  fourth  stage  it 
should  go  through — a  sort  of  "polishing"  pro- 
cess. And  if  the  filming  involved  more  than  one 
roll,  editing  is  all  the  more  important.  Inevi- 
tably there  will  be  lengthy  scenes  to  shorten. 


over-  and  under-exposed  frames  to  delete,  and 
most  important,  re-arranging  of  the  scenes  to 
form  continuity.  Editing  movies  is  as  fascinat- 
ing as  filming,  provided  the  job  is  approached 
systematically  and  with  adequate  equipment 
Demonstrated  is  simple  editing  procedure. 


First  step  is  to  screen  picture  and  make  notes  as  guide 
to  cutting,  editing  and  titling.  Have  pencil  and  pad  of 
paper  ready  beside  projector.  If  spill  light  from  lamp- 
house  is  inadequate  illumination  for  writing,  provide  a 
small  desk  lamp  or  other  light  source  properly  shielded 
from  screen.  If  necessary,  stop  projector  frequently  in 
order  to  complete  notes.  Write  text  for  sub  titles. 


At  editing  board,  break  down  film  into  individual 
scenes  except  where  scenes  follow  in  proper  order.  Coil 
film  strips,  mark  with  identifying  tag,  slip  of  paper,  etc., 
and  place  on  editing  rack  in  chronological  order.  Use 
scissors  in  cutting  film  and  always  sever  at  frame  lines. 
When  "breakdown"  process  is  completed,  all  scenes  should 
be  arranged  on  editing  rack  ready  for  editing  and  splicing. 


Referring  to  notes,  inspect  each  scene  carefully  and 
trim  as  indicated.  Start  with  scene  number  one  and  pro- 
ceed to  add  subsequent  scenes  according  to  outline  writ- 
ten during  projection  of  picture,  shortening  each  scene 
or  cutting  the  action  at  a  specific  point.  Edit  to  sustain 
interest.  Shorten  lengthy  non-action  scenes.  Cut  in  close- 
ups  after  medium  or  long  shots.  Splice  carefully. 


Re-editing  is  invariably  necessary.  After  first  editing, 
screen  picture  again  and  again  and  note  where  additional 
cutting  or  re-arrangement  of  scenes  will  improve  con- 
tinuity. This  is  the  time  to  complete  text  for  all  necessary 
titles.  Invite  members  of  family  to  sit  in  on  these  subse- 
quent screenings  and  note  their  re-actions.  Return  to 
editing  board  with  film  and  notes.  Re-edit  and  title. 


•  Here  photographic  tests  show  results  of  combining  focusing  and  selective  aperture  technique  to  gain  desired  depth  of  focus. 


Controlling,  focu^  for 

bene,  mmum 


By  WILLIAM 

i\  N  element  of  photography  and 
particularly  of  cinematography  little 
understood  by  the  average  amateur  is 
depth  of  focus.  When  a  camera  is 
trained  upon  a  scene  or  object,  the  cus- 
tomary step  before  exposing  the  film  is 
to  adjust  the  lens  so  it  will  focus  sharp- 
ly on  it.  If  this  is  not  done,  the  film 
image  will  not  be  sharp.  Often  the  prin- 
ciple subject  in  a  scene  is  out  of  focus 
and  the  background  or  foreground  is  in 
focus  instead,  indicating  there  is  al- 
ways a  certain  area  within  the  scene 
that  constitutes  a  field  of  sharpest 
focus.  This  field  is  not  definite,  being 
subject  to  change  and  especially  to  con- 
densation or  expansion  through  adjust- 
ment of  the  camera  lens. 

If  you  have  ever  watched  a  search- 
light at  night  projecting  a  beam  of 
light  into  the  sky,  you've  seen  the 
beam's  brightest  area  come  to  an  end 
at  a  fixed  distance  from  the  lamp  house. 
Some  of  the  light  extends  beyond  but 
it  is  diffused.  Length  of  the  light  beam 
can  be  shortened  or  lengthened  by  ad- 
justing the  searchlight's  focusing  ap- 
paratus. 

In  a  similar  way,  the  "seeing"  ability 
of  our  camera  lens  reaches  out  on  a 
beam  before  our  camera,  bringing  a 
certain  part  of  the  area  into  sharp 
focus.  If  we  set  our  lens  to  focus  at 
lo  feet,  objects  at  lo  feet  distant  will 
register  sharply.  Set  the  lens  at  25  feet 


J.  BORNMANN 


and  objects  at  that  distance  will  be  in 
sharp  focus. 

This  point  of  sharp  focus,  however, 
is  something  more  than  a  "point."  Act- 
ually it  is  an  area  or  "belt"  extending 
across  th;  scene  laterally,  the  depth  of 
which  depends  upon  another  adjust- 
ment of  the  lens — the  aperture  open- 
ing. Familiar  is  the  statement  that  "the 
smaller  the  lens  stop,  the  sharper  the 
focus."  Actually,  the  smaller  the  lens 
stop,  the  deeper  is  the  area  of  sharp 
focus.  If  we  train  our  lens,  opened  to 
f  1.9,  on  an  object  4  feet  away,  sur- 
rounding objects  which  make  up  the 
background  and  foreground  and  locat- 
ed within  the  area  3  feet  5  inches  to  4 
feet  10  inches  from  the  camera  will  al- 
so be  in  sharp  focus.  Thus  the  sharp 
focus  "belt"  would  have  a  depth  of  17 
Inches.  Let  us  stop  down  the  lens  to  f  '  8 
and  the  depth  of  this  sharp  focus  "belt" 
is  increased  to  a  depth  of  7  feet  1 5 
inches! 

Some  may  ask  why  is  knowledge 
of  depth  of  focus  so  important?  If  our 
object  is  10  feet  away  and  we  set  our 
lens  to  focus  accordingly,  what's  the 
difference  how  much  of  the  rest  of  the 
scene  is  in  sharp  focus?  Well,  for  ordi- 
nary "snapshot"  filming,  it  really 
doesn't  make  any  difference.  But  seri- 
ous cinematographers  find  frequent  use 
of  this  knowledge  to  improve  their 
photography  and  the  really  fine  films 


are  those  where  use  of  proper  focus  re- 
sulted in  improved  composition.  We 
need  only  recall  the  widespread  inter- 
est created  by  the  deep  focus  photog- 
raphy in  Orson  Welles'  "Citizen  Kane" 
or  our  own  individual  reactions  to  it. 

Not  all  the  best  photography  con- 
sists of  scenes  in  deep  focus.  Many  times 
knowledge  of  depth  of  focus  will  en- 
able filming  an  object  so  it  will  stand 
out  sharply  against  a  background  that 
might  otherwise  prove  confusing.  Out- 
doors, when  filming  scenic  panoramas, 
deep  sharp  focus  is  always  desirable. 

At  the  conclusion  of  this  article  there 
appears  a  table  of  hyper-focal  distances 
which  apply  to  the  regular  fixed  focus 
lenses  of  8mm.  and  i6mm.  cameras. 
When  a  lens  is  set  at  the  hyperfocal 
distance,  objects  will  be  in  focus  from 
!  2  the  hyperfocal  distance  to  infinity. 
The  hyperfocal  distance  varies  with  the 
lens  opening  or  stop  used.  As  an  ex- 
ample let  us  suppose  that  we  are  filming 
a  scene  at  f  8  with  a  i  inch  lens.  Re- 
ferring to  the  table  of  hyperfocal  dis- 
tances, we  find  that  when  a  i-inch  lens 
is  used  at  f  8  the  hyperfocal  distance 
is  1 1  feet.  Therefore  everything  within 
the  scene  from  5  Yz  feet  to  infinity  is  in 
focus.  To  allow  the  greatest  range  of 
sharpness  when  using  a  focusing  lens, 
always  set  lens  at  the  hyperfocal  dis- 
tance for  the  diaphragm  opening  being 
used  and  everything  will  be  in  focus 
from  one-half  that  distance  to  infinity. 

This  method  is  perhaps  the  easiest 
way  to  use  a  focusing  lens  set  at  "fixed 
focus"  and  yet  enjoy  the  advantages 
of  the  focusing  lens  when  its  needed.  It 
would  probably  be  a  good  idea  to  copy 
the  hyperfocal  distance  table  and  paste 
it  right  on  your  camera. 

Next  comes  the  question  of  filming 
an  object  at  a  certain  distance  and  wish- 
ing to  know  how  far  in  front  and  how 
far  in  back  of  that  object  will  be  in 
•  Continued  on  Page  2^0 


274 


HOME  MOVIES  FOR  JULY 


PAGE  275 


[any  so-called  experts  on 
home  movies  would  scoff  at  the  idea  of 
producing  an  acceptable  amateur  mo- 
tion picture  half  titles  and  half  pic- 
tures. But  now  that  its  successfully 
been  done,  the  experts  can  chalk  off  an- 
other "don't"  from  their  list  of  must- 
nots  in  the  art  of  amateur  movie 
making. 

A  film  that  proves  the  fallacy  is 
"White  Waters,"  produced  by  Reel 
Fellow  C.  A.  Willis  of  Merced,  Califor- 
nia, and  awarded  Home  Movies'  certifi- 
cate for  the  Movie  of  the  Month.  This 
beautiful  and  highly  informative  film 
runs  400  feet  in  i6mm.  Kodachrome 
and  has  as  its  subject  the  famed  water- 
falls of  Yosemite  National  Park.  It 
traces  the  rivers,  of  which  the  falls  are 
part,  from  their  origin  in  melting 
mountain  snows  to  their  meeting  with 
the  sea.  The  imaginative  Willis  has  cap- 
tured with  his  camera  a  masterful  and 
poetic  story  of  the  river. 

Thousands  of  cine  cameraists  have 
journeyed  to  Yosemite  to  make  color 
movies  of  its  limitless  scenery.  Yet  few 
ever  bring  to  a  successful  conclusion  a 
complete  movie  story  of  this  wonder 
spot  tied  together  in  true  cinematic 
sense  with  continuity  made  of  artful 
editing  and  titling.  Without  the  titles, 
"White  Water"  might  be  just  another 
scenic  film  of  Yosemite. 

There  is  so  much  to  film  in  Yosemite 
the  average  amateur  is  overawed  if 
not  confused.  But  Willis  selected  one 
phase  on  which  to  film  a  story:  the 
story  of  the  park's  big  feature — its  wa- 
terfalls. And  by  so  doing  he  included 
much  of  Yosemite's  grandeur  without 
detouring  from  his  main  subject. 

Opening  titles  tell  how  over  the  vast 
Sierra  Nevada  snowfields  the  bright 
California  sun  plays,  transforming  the 
"white  waters"  into  silver  fluid.  There's 
a  beautiful  panorama  shot  of  snow 
capped  peaks  framed  with  swaying 
branches  of  pines.  Then  the  title: 

"First  a  trickle.  ..." 
followed  by  a  closeup  of  a  trickle  of 


and  plenty,  of  tkem  .  .  . 

''White  Water/'  Movie  of  the  Month  boasts 
fifty  per-cent  footage  in  titles... 


I 


water  issuing  from  beneath  a  cluster 
of  melting  snow.  Other  descriptive 
titles  and  their  complementary  scenes 
follow: 

".  .  .  then  a  rivulet.  .  .  ." 

"...  a  dashing  stream.  .  .  ." 


"then  a  mountain  brook,  as  melting 
snows  begin  their  journey  to  the  sea." 

Reproductions  of  these  titles  and  ac- 
companying scenes  appear  here.  They 
display  the  artistry  of  the  filmer  as  well 
•  Continued  on  Page  2S2 


•  Imaginative  titling  and  fme  editing 
combined  to  make  "White  Waters" 
the  Movie  of  the  Month.  Some  of  its 
continuity  is  displayed  in  the  title  and 
scene  reproductions  at  right. 


HOME  MOVIES  FOR  JULY 


•  Standing  behind  his 
Bolex  "16"  and  part 
of  the  vast  battery  of 
lights  he  used,  is 
Robert  Harnsberger, 
member  of  the  Reel 
Fellows,  whose  16mm 
Kodachrome  film  of 
Luray  Caverns  boasts 
38  prints  in  circula- 
tion. 


REEL  FELLOW 

tlie  underground  .  .  . 

By  CURTIS  RANDALL 


T 

lYPICAL  of  the  talent  within 
the  ever  growing  Reel  Fellows  organi- 
zation is  Robert  C.  Harnsberger,  famed 
for  some  outstanding  cine  clicking  in 
and  about  his  "home  town,  Luray,  Vir- 
ginia. Harnsberger  got  the  movie  bug 
just  as  you  and  I.  He  was  married,  there 
were  children,  and  he  thought  it  would 
be  a  swell  idea  to  get  a  camera  so  he 
could  make  movies  of  the  kiddies  as 
they  grew  up.  Afterward,  he  extended 
his  movie  activities  in  the  usual  way, 
shooting  flowers,  picnic  trips  and  rela- 
tives whenever  they  chanced  in  for  a 


visit.  Today,  Harnsberger  owns  a  fine 
Bolex  "Sixteen"  and — well  some  of  his 
other  equipment  may  be  seen  in  the 
photo  at  top  of  this  page. 

The  reason  we're  writing  about  Reel 
Fellow  Harnsberger  is  because  his  em- 
ployer thought  so  much  of  his  last  mo- 
tion pictures,  he  ordered  38  prints  to 
be  made  and  put  into  circulation!  Of 
course,  like  Postum,  there  was  a  reason. 
Harnsberger 's  movie  pictured  the 
wonders  of  the  Luray  Caverns  of 
Virginia,  managed  by  his  employer.  It 
probably  is  the  finest  advertising  that 


could  be  produced  for  this  famed  nat- 
ural wonder  which  each  year  attracts 
thousands  of  tourists. 

During  the  Fall  of  1940,  Harns- 
berger started  to  film  the  Luray  Cav- 
erns on  his  own.  Being  an  employee  of 
the  Caverns  management  he  had  full 
access  to  the  cave  and  to  many  facili- 
ties not  available  to  the  average  movie 
amateur.  During  the  winter  when  tour- 
ist business  was  dull,  Harnsberger 
worked  underground  daily  with  his 
camera  and  lights  and  by  spring  had 
accumulated  quite  a  lot  of  Kodachrome 
footage  on  the  principle  points  of  inter- 
est in  this  subterranean  wonderland. 

Up  until  the  time  Harnsberger's  film 
was  circulated  by  his  employer,  not 
many  people  west  of  Virginia  knew  of 
Luray  Caverns.  Now  they  are  well 
known  throughout  the  U.  S.  A.,  and 
more  people  will  know  about  Luray  as 
Harnsberger's  film  gains  wider  circu- 
lation. 

The  caverns  lie  under  a  great  hill  in 
the  Shenandoah  Valley.  They  consist  of 
many  large  rooms  connected  by  natur- 
al corridors  or  passageways.  Glittering 
stalactites,  fluted  columns,  stone  dra- 
peries in  folds  and  a  thousand  tints,  cas- 
cades of  snow-white  stone — all  fill  the 
mind  of  the  visitor  with  curious  sensa- 
tions of  wonder  and  admiration.  To  the 
movie  bug,  it  sets  his  trigger  finger 
itching  uncontrollably.  The  caves  are 
lighted  by  many  incandescent  lamps  in 
reflectors  carefully  concealed  among 
the  depressions  within  the  cave.  The 
myriad  of  colors  is  unsurpassed  by  any 
other  natural  cavern. 

•  Continued  on  Page  2iS 


•  Two  views  of  the  beautiful  multi- 
colored interior  of  the  famed  Luray 
Caverns  of  Virginia  which  Reel  Fellow 
Harnsberger  successfully  lighted  and 
filmed  in  Kodachrome. 


276 


c4  home-made  pre^i  lor 


mnm  titles 


A  DESIRE  of  almost  every  movie 
amateur  is  to  make  professional-like 
titles  from  cards  printed  from  type. 
Heretofore,  cost  of  necessary  equip- 
ment deterred  many  from  even  experi- 
menting with  this  phase  of  title  mak- 
ing for  it  usually  meant  expenditures 
for  a  printing  press,  type  and  ink.  The 
last  two  items  are  negligible.  It's  the 
press  that's  expensive.  And  when  a 
movie  amateur  encounters  difficulty 
keeping  himself  in  film,  his  chances  of 
finding  spare  cash  for  printing  equip- 
ment are  pretty  slim. 

Experiments  have  proven  that  quite 
satisfactory  printed  title  cards  can  be 
made  without  a  printing  press.  All  that 
is  really  required  is  a  font  of  regular 
printer's  type,  a  quantity  of  printing 
ink  and  a  little  ingenuity  on  the  part 
of  the  cinebug  to  fashion  from  bits  of 
wood,  etc.,  the  implements  necessary 
to  hold  the  type  and  produce  a  clean 
impression  on  paper. 

Illustrated  here  is  a  compact  and 
efficient  home-constructed  title  print- 
ing outfit  and  the  method  for  using  it 
to  print  titles.  The  complete  outfit  is 
pictured  in  Fig.  i — type  cabinet,  chase, 
type  tweezers,  ink,  ink  roller  and  plate, 
and  impression  block.  First  step  is  to 
select  the  desired  type,  then  to  con- 
struct a  box  or  cabinet  to  hold  the  type 


By  GEORGE 

in  orderly  manner  to  facilitate  easy  se- 
lection of  characters.  As  this  outfit  was 
designed  especially  for  the  printing  of 
title  cards  for  a  typewriter  titler,  a 
type  was  selected  corresponding  in  size 
to  ordinary  pica-size  typewriter  type. 

The  ideal  type  for  printing  titles  is 
a  gothic  style — a  type  with  a  solid  face 
such  as  the  following: 

1.  Title  Type 

2.  Title  Type 

Complete  fonts,  which  include 
enough  characters  to  compose  the  aver- 
age title,  may  be  purchased  from  any 
type  foundry  or  printer's  supply  house. 
No.  I  type  above  is  Kabel  Bold;  No.  2, 
Bold  face  Stymie.  There  are  other 
Gothic  faces  equally  as  good.  The  two 
suggested  are  among  the  latest  and  r"""t 
modern.  A  supply  of  lead  spacers  also 
should  be  obtained.  These  are  the  fillers 
to  be  placed  between  the  lines  of  type. 
A  small  can  of  black  ink  can  be  had 
from  the  same  source. 

For  the  ink  roller,  buy  an  ordinary 
print  roller  from  your  photo  dealer.  The 
small  size  will  do.  Then  for  the  ink 


CARLSON 

"fount,"  use  a  panel  of  ordinary  win- 
dow glass.  A  bit  of  the  ink  may  be 
smeared  upon  it  and  the  roller  worked 
over  it  in  order  to  distribute  the  ink 
evenly  on  the  roller  as  shown  in  Fig.  3. 

In  the  printing  business,  the  piece  of 
equipment  used  to  hold  the  assembled 
type  and  which  is  locked  in  place  on 
the  press  is  called  a  "chase."  Usually 
this  is  a  rectangular  frame  of  steel. 
The  type  is  centered  within  it  and  the 
remaining  space  filled  out  with  wood- 
en blocks  called  "furniture."  Small 
metal  gadgets  called  "quoins"  are  adjust- 
ed to  lock  type  and  furniture  securely 
within  the  chase. 

However,  we  need  no  such  elaborate 
accessories.  Our  chase  can  be  made 
from  thin  wood,  such  as  obtainable 
from  an  apple  box,  and  will  in  itself  be 
•  Continui'd  on  Vage  2S7 

•  Pictured  is  the  simple  paraphrenalia 
required  to  print  titles  with  type.  The 
"press"  is  home  made  from  cigar  or 
apple  box  material.  Type  and  ink  re- 
quire the  only  outlay  of  cash — and 
modest,  too. 


PACE  278 


HOME  MOVIES  FOR  |ULY 


THE  EXPERIMESTU 


Parallax  Corrector' 

Photo  shows  a  highly  efficient  paral- 
lax corrector  or  alignment  gauge  for 
the  Filmo  eight.  Construction  details 
are  shown  in  accompanying  sketch.  Ma- 
terials are  a  piece  of  bar  metal  (alumi- 
num, brass,  or  steel)  '/4"x2"x9";  three 
y^'xio  machine  screws  i"  in  length; 
two  y/'  wing  nuts;  and  a  short  piece 
of  1/  1 6"  brass  rod. 

Metal  bar  should  be  cut  into  two 
pieces  as  required,  then  the  two  pieces 
bent  to  shape  before  trimming  down  to 
final  size.  An  inside  radius  of  about  '/^" 
at  the  bends  will  do.  Corners  should  be 
rounded  as  shown. 

Most  important  dimensions  are  the 
21/32"  horizontal  and  15/ 16"  verti- 
cal differences  between  the  centers  of 
the  lens  and  finder  of  the  camera.  The 
important  thing  is  to  locate  properly 
these  center  points  and  build  the  rest 
of  the  gadget  around  them. 

With  these  two  centers  located  on  the 


DON'T  KEEP  IT  A  SECRET! 

Tell  your  brother  hobbyists  about 
those  gadgets  you've  made  to  en- 
liven your  movie  making  pleasure. 
Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  columns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
iectk>n  reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  ideas  you  may  submit.  Ideas 
not  immediately  publiched  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
ly submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  16mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


larger  or  stationery  piece  ^i,  draw 
diagonal  line  connecting  the  two  and 
extend  it  as  shown  so  that  the  two 
guide  studs  can  be  set  that  far  apart 
and  yet  travel  the  full  distance  re- 
quired. Best  way  to  cut  slot  in  ^  i 
piece  is  by  drilling  a  row  of  V/'  holes, 
all  carefully  centered  on  the  diagonal 
line  by  pre-marking  with  center-punch. 

First  two  holes  drilled  should  be  those 
separated  by  the  dimension  and  this 
should  be  done  with  the  :j^2  piece 
clamped  together  with  the  piece  in 
lower  position.  Drill  should  be  allowed 
to  penetrate  only  far  enough  to  mark 
centers  of  holes  on  piece  ir2  as  holes 
in  this  piece  should  be  made  with  a  No. 
7  drill  and  tapped  for  a  ■/^"  No.  20 
thread. 

Filing  of  diagonal  slot  in  piece  iri 
should  be  delayed  until  piece  zzi  is 
completed.  This  slot  will  be  filed  only 
wide  enough  to  take  the  two  '/4  "  studs 
snugly.  There  must  be  no  play  what- 
ever between  studs  and  slot. 


isoieretc  mrrui  or 


Holes  are  tapped  in  base  of  i  piece 
and  also  in  top  of  if  2  piece  to  fit 
tripod  and  camera  screw  respectively. 
Camera  screw  for  piece  ztz  is  fitted 
with  wing  nut,  properly  anchored,  and 
the  threads  filed  off  for  a  quarter  of  an 
inch  to  permit  screw  to  ride  free  in  the 
base. 

Photograph  shows  manner  of  attach- 
ing completed  gauge  to  tripod  and 
camera.  Closeup  shots  are  lined  up 
through  finder  with  camera  in  lowered 
position,  and  the  shot  made  of  the  ex- 
act area  seen  through  view-finder  when 
camera  is  locked  in  upper  position. 

— D.  WarJ  Pease, 
Chicago,  III. 

Scroll  Attachment 

Eastman  titlers  and  those  of  other 
makes  can  be  improved  to  afford  mov- 
ing or  scroll  titles  by  the  simple  expe- 
dient illustrated  here.  Two  tabs  "B"  are 
formed  of  light  metal  or  tin  and  sol- 
dered or  riveted  to  top  of  title  card 
holder  as  shown.  Two  metal  rods  are 


SLOTTED  TO  FIT  B 


^  kiVET  CD 
'  ^  loLDED 


then  fitted  into  title  card  holder  as 
shown  at  "A."  These  serve  to  keep  the 
lengthy  title  flat  and  in  focus  while  be- 
ing photographed.  The  spool  "C"  can 
be  made  from  a  piece  of  dowel  or  a 
discarded  roll  film  spool.  It  should  be 
slotted  at  either  end  so  it  will  fit  into 
the  tabs  "B."  The  hand  crank  may  be 
formed  from  a  piece  of  coat  hanger 
wire  and  driven  securely  into  the  spool. 

To  use,  print  title  on  strip  of  paper 
of  required  length,  allowing  about  three 
inches  of  blank  space  as  a  leader.  In- 
sert leader  into  slot  in  spool  and  wind 
up  to  starting  point.  Title  should  be 
threaded  with  rods  "A"  in  back  of  it. 
By  holding  title  strip  firmly  at  loose 
end,  sufficient  tension  will  be  applied 
to  title  surface  flat  and  at  same  time 
balance  the  winding  action. 

— Henry  M.  Fishman, 
Creenbelt,  Md. 

Holds  Bulk  Film 

Pictured  is  an  ordinary'  '4  "  rubber 
band,  cut,  and  rejoined  with  rubber  ce- 
ment to  form  a  tab.  This  is  used  to  keep 
my  rolls  of  bulk  film  from  unrolling. 
I  formerly  used  strips  of  various  ad- 
hesive tapes  but  found  that  in  warm 
weather,  adhesive  had  tendency  to  part 
from  tape  and  adhere  to  film  with  re- 


HOME  MOVIES  FOR  )ULY 


PAGE  279 


CI H  WORKSHOP 


suit  it  collected  in  film  gate  of  my  cam- 
era. The  tab,  of  course,  makes  it  easy 
to  remove  rubber  band  or  replace  it  on 
roll  of  film. 

— B.  C.  Cool, 

Calgary,  Albta.,  Canada 


Meter  Kink 

Exposure  meters  in  leather  carrying 
cases  may  be  carried  safely  on  one's  belt 
or  attached  to  camera  case  by  improv- 
ing case  with  simple  eyelet  and  snap  as 
pictured  here. 

Fashion  an  eyelet  from  piece  of  stout 
wire  and  insert  in  hole  of  meter  carry- 
ing case  as  shown.  Fit  an  ordinary  har- 
ness snap  to  your  belt  or  camera  car- 
rying case  to  which  meter  may  be  snap- 
ped when  not  in  use. 

— Dudley  Tiihb$, 
Elmira,  N.  Y. 

Editing  Aid 

Accompanying  picture  shows  a  sim- 
ple editing  accessory  I  constructed  to 
hold  my  film  strips.  I  had  tried  pegs 
and  nails,  but  the  film  unrolled  and 
proved  a  nuisance.  Round  containers  al- 
so proved  bothersome  as  the  film  unrolls 
and  clings  closely  to  side  of  box  making 
it  difficult  to  readily  extract  it. 

I  secured  a  quantity  of  square  pill 
boxes,  separated  tops  from  the  bottoms, 
and  tacked  them  in  rows  to  a  square 
board,  as  shown.  Numbers  from  i  to 


.  1 ' 

!  1 

J 

- 1 1 

99  on  gummed  and  perforated  paper 
were  obtained  from  a  stationary  store 
and  were  used  to  number  the  boxes. 

The  coiled  film  expands  when  re- 
leased, but  is  readily  grasped  with  the 
fingers  because  of  the  square  shape  of 
the  boxes. 

—B.  C.  Cool 

Calgary,  Albta.,  Canada 

Remote  Control 

This  gadget  applies  to  the  use  of  a 
Keystone  camera  with  a  titling  device 
such  as  described  by  George  Cushman 
in  the  April  issue  of  Home  Movies 
and  is  particularly  adaptable  for  ani- 
mation work,  in  that  it  provides  for 
operating  camera  starting  button  by 
foot,  leaving  both  hands  free  to  man- 
ipulate the  animation  or  title  material. 

The  foot  control  consists  of  a  wood- 
en block  on  which  is  mounted  an  or- 
dinary strap  hinge  A.  A  small  spring 
B  is  attached  between  leaves  of  the 
hinge,  as  shown.  A  small  corner  brack- 
et is  soldered  or  bolted  to  top  of  hinge 
as  shown  at  C  which  provides  an  an- 


SPRII^C  CURTAIN  ROD  "D" 

y 

CORNER  BRACKET 
 CLAMP 


CAMERA 


CORN£B  BDACKCT  ■ 
SUNK  BCLOiV  HIUCE 


WOOD  BLOCK 


chor  for  the  wire  that  runs  through 
the  flexible  cable  D  to  the  camera  start- 
ing button.  This  flexible  cable  is  an  or- 
dinary spring  curtain  hanger  obtainable 
from  any  dime  store. 

At  the  camera,  a  hinge  is  again  em- 
ployed at  the  terminus  of  the  wire  and 
flexible  cable.  Cable  is  anchored  secure- 
ly to  it  and  a  small  bolt  inserted  in 
hinge  in  such  a  way  as  to  provide  a  con- 
tact point  with  camera  starting  button. 
Other  minor  features  are  illustrated. 

Foot  control  is  placed  on  floor  be- 
neath worktable  with  cable  extending 


g.adg.et^y  tricks  ^ 
shortcut ^  contri' 
butedby.  Cinebug.^ 


to  camera  above.  To  start  camera,  hinge 
pedal  is  depresesd  drawing  wire  in  flex- 
ible shaft  which  pulls  second  hinge 
against  camera  button. 

— Roy  L.  Davis, 
Scranton,  Pa. 

Reel  Retainer 

I  have  owned  several  low-priced 
8mm.  projectors  and  have  found  that 
the  spring  clips  on  reel  spindles  invari- 
ably weaken  and  fail  to  hold  reels  se- 
curely. After  resorting  to  various  reme- 
dial measures,  I  found  a  small  rubber 
grommet,  slipped  over  the  spindle  after 
mounting  the  reel,  held  the  reel  in  place 
and  was  readily  removable. 

Such  rubber  grommets  are  available 
from  electrical  or  radio  supply  stores 
in  a  number  of  sizes. 


-D.  J.  Henniiiger, 
Tiffin,  Ohio 


Film  Cleaner 


Pictured  is  a  simple  arrangement 
made  of  simple  materials  for  the  pur- 
pose of  automatically  cleaning  home 
movie  film  during  rewinding  process. 

A  wooden  bracket  attached  to  work- 
table  or  editing  board  supports  four  or- 
dinary thread  spools.  Spools  are  attached 
with  nails  in  such  a  manner  as  to  per- 
mit free  movement.  Each  spool  is  cov- 
ered with  a  piece  of  felt  cemented  in 
place  with  ends  meeting  flush.  This  ar- 
•  Continued  on  Page  294 


PAGE  280 


HOME  MOVIES  FOR  JULY 


M 


ome  movie 


Where   to   rent   or   buy   8mm.   and    16mm.  films 


1  O  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films  maintained  by  your  photo  dealer  for  owners  of  8mm.  and 
1 6mm.  projectors.  Rental  rates  are  surprisingly  low  and  new  films  are  added 
at  regular  intervals.  Dealers  listed  below  will  gladly  assist  with  suggestions 
for  one  reel  to  full  evening  programs: 


CALIFORNIA 

BEVERLY  HILLS 

Beverly  Hills  Camera  Shop 
417  No.  Beverly  Drive 


GLENDALE 

Kirk's  Camera  Exchange 
1225  So.  Brand  Blvd. 


HOLLYWOOD 

Bailey  Film  Service 
1651   Cosmo  Street 

Bell  &  Howell  Filmosound  Library 
716  N.  La  Brea  Ave. 

Castle's  Inc. 
1529  Vine  Street 

Morgan  Camera  Shop 
6262  Sunset  Blvd. 


LONG  BEACH 


Winstead  Bros.,  Inc. 
244  Pine 


LOS  ANGELES 

Films  Incorporated 
1709  W.  8th  Street 


SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 
Photo  &  Sound,  Inc. 
153  Kearny  St. 


SANTA  MONICA 

Stewart  Photo  Company 
1257  Third  Street 


DISTRICT  OF  COLUMBIA 


WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St.,  N.  W. 


ILLINOIS 


BERWYN 


Colonial   Camera  Shop 
6906  Windsor  Ave. 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  LarchmonI  Ave. 

Films  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 


IOWA 


MASON  CITY 


Decker  Bros. 

209  No.   Federal  Ave. 


KANSAS 


WICHITA 


Jeff's  Camera  Shop 
139  N.  Broadway 

Lewis  Film  Exchange 
216  East  1st  St. 


MASSACHUSETTS 


BOSTON 


Don  Elder's  Film  Library 
739  Boylston  St.,  Dept.  HM. 

Frank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
325  State  Street 


NEW  YORK 


ALBANY 


Albany  Camera  Shop  Rental  Library 
204  Washington  Ave. 

KENMORE 

Nixon  Camera  &  Photo  Supply  Co. 
281 1  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
30  Rockefeller  Plaza 

Films,  Incorporated 
330  W.  42nd  St. 

Walter  O.  Gutlohn,  Inc. 
25  West  45th  St. 

Haber  &  Fink,  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
15  West  47th  St. 


OHIO 


CINCINNATI 


Ralph  V.  Haile  &  Assoc. 
215  Walnut  St. 

DAYTON 

South   Park  Fotoshop 
1027  Brown  Street 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 


OREGON 


PORTLAND 


Films  Incorporated 
314  S.  W.  9th  Avenue 


PENNSYLVANIA 

PHILADELPHIA 

Kunz  Motion  Pictures 
1319  Vine  Street 


3^  y.ou  want  a 


to 


ow 


NEWS  OF  TIMELY  SUBJECTS 
FOR  HOME  PROJECTORS 


For  Stay-at-Homes 

Movie  amateurs  whose  vacation  plans 
were  upset  by  rubber  and  gasoline  ra- 
tioning may  still  enjoy  a  "proxy"  va- 
cation by  screening  pictures  of  the  very 
areas  they  planned  to  visit.  Castle  Films 
have  made  available  for  both  8mm.  and 
1 6mm.  projectors  a  half-dozen  or  more 
films  of  America's  principle  pleasure 
spots. 

Subjects  now  on  sale  by  dealers  in- 
clude: "Bryce-Zion-Grand  Canyons," 
"Coney  Island,"  "Fun  In  Florida," 
"Washington,"  "New  York,'  "San 
Francisco,"  and  "California  Picture 
Book."  "America's  High  Spots"  por- 
trays in  a  single  reel  satisfying  glimpses 
of  America's  scenic  wonders. 

According  to  Castle  Films,  all  sub- 
jects are  priced  at  less  than  cost  of  un- 
exposed film.  Complete  catalog  may  be 
had  by  writing  them  at  30  Rockefeller 
Plaza,  New  York  City. 


Sport  Beams 

Available  as  shorts  or  features  are  a 
series  of  interesting  films  trade-named 
"Sport  Beams"  and  released  by  Ofli- 
cial  Films,  425  Fourth  Ave.,  New  York 
City.  Topping  the  list  is  "Blue  Bloods" 
a  saga  of  the  thoroughbred  race  horse 
from  colt  days  to  home-stretch  tri- 
umphs   at    Pimlico    and    other  famed 


HOME  MOVIES  FOR  JULY 


PAGE  281 


tracks.  Other  "Sport  Beams"  subjects 
are:  "Follow  Thru"  on  the  subject  of 
Golf;  "Monarchs  of  the  Ring"  featuring 
many  famous  stars  in  the  making:  "On 
the  Trail,"  a  film  of  sport  and  scenic 
beauty;  and  "Away  With  the  Wind" 
picturing  sailing  craft  from  old  square 
riggers  to  modern  trim  racing  craft. 

Brochure  giving  complete  details  and 
prices  is  available  on  request. 


Civil  War  Scenes 

Intercontinental  Marketing  Corp.,  95 
Madison  Ave.,  New  York,  are  releas- 
ing excerpts  from  D.  W.  Griffith's 
famed  "Birth  of  a  Nation"  in  both 
8mm.  and  i6mm.  widths.  Now  avail- 
able is  "The  Assassination  of  Lincoln," 
the  authentic  story  of  one  of  America's 
greatest  tragedies  as  so  vividly  pictured 
in  Griffith's  motion  picture.  Also,  "Ci- 
vil War  Battle  Scenes,"  proclaimed  by 
many  the  greatest  war  scenes  ever  pho- 
tographed. 

Either  subject  is  available  in  50  feet 
8mm.  at  $2.00  or  100  feet  i6mm.  at 
$3.50. 


U.  S.  Wartime  Scenes 

"Washington  In  Wartime"  is  title  of 
latest  Castle  Films  release  which  in- 
cludes stirring,  up-to-the-minute  rec- 
ord shots  of  recent  Washington  activi- 
ties. Pictured  are  the  thousands  of 
workers  in  War  agencies;  intimate 
meetings  with  the  War  leaders;  Presi- 
dent Roosevelt  in  the  White  House; 
Admiral  King;  General  Marshall;  Price 
Administrator  Leon  Henderson;  W.  P. 
B.  Chairman  Nelson,  and  many  others. 

This  film,  as  with  all  Castle  subjects, 
is  available  through  photo  dealers  in  five 
different  footage  lengths  at  usual  Castle 
prices. 


"A"  Ail  operations  performed  by  precise  gears 

ic  Positive  locks  on  tilt  and  pan  mechanisms 

"if  Fits  all  tripods 

"At  Ultra  modern  in  design 

"A"  GEARMASTER  brings  new  efficiency 
to  all  picture  making 

Fully  guaranteed.  Write  for  literature,  and  see  your 
favorite  dealer.  If  he  cannot  supply,  order  from  us. 

AMERICAN  BOLEX  CO.,  Inc. 

155  E.  44th  St.  New  York,  N.  Y. 


AX  INCLUDED 

No  protruding  handle  to 
interfere  with  making  the 
picture  by  keeping  you  away 
from  your  camera.  Movie  makers 
will  marvel  at  the  simplicity  of 
making  geared  panorama  shots  by 
simply  turning  the  pan  crank.  Still 
camera  owners  will  appreciate  being 
able  to  get  to  their  range  and  view 
finders  without  interference  from 
a  protruding  handle. 

WesternRepresentalive-.FrankA.EmmetCo. 
2^07  W.  Pico  St.,  Los  Angeles,  Calif. 


50  M 


3<L 


for  Home  Movie  Filmers 


"FiHy  Ideas  for 
FILMING  CHILDREN" 

clever  Ideas  for  openings  and  sin- 
gle scenes  .  .  .  ideas  for  humorous 
running  gags  .  .  .  titles  that  create 
continuity  .  .  three  complete  sce- 
narios for  babies  .  .  .  plots  for  con- 
tinuity movies  .  .  .  title  drawings 
for  children  movies,  etc.,  are  all 
contained  in  this  inexpensive  book- 
let  Price  25c 


"Fifty  Ideas  for 

VACATION  MOVIES" 

What  and  how  to  shoot  .  .  .  ideas 
for  running  gags  .  .  .  vacation  con- 
tinuities .  .  .  continuity  after  film- 
ing .  .  .  map  inserts  and  title  ideas 
.  .  .tailor  made  art  titles  for  vaca- 
tion movies,  etc.,  are  chapters  in 
this  booklet  that  every  movie  cam- 
era owner  should  have    Price  25c 


Purchase  at  your  favorite  photographic  store  or  direct  from  . 


VER  HALEN  PUBLICATIONS 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIFORNIA 


PAGE  282 


HOME  MOVIES  FOR  )ULY 


TITLES 

.  .  .  talk! 


They  make  those  home  movies  of 
yours  a  finished  product.  Follow 
your  hobby  fully  .  .  .  have  the  fun 
of  completed   production   by  using 

MITTENS  TITLE  LETTERS 
Sets  Priced  $5.50  up 

On  sale  at  all  leading  camera  stores. 
Ask  for  illustrated  literature  or 
write  direct. 

Ask  for  demonstration  of 
New  Super  Professional  Set! 

Mittens  Letter  Company 

REDLANDS  CALIFORNIA 


TjitLeA  and  plenty,  o/  them . . . 


PB  MOVIE  KIT  for  COLORFILM 

$4.75  COMPLETE 

1  PB  Lens  Shade  and  Filter  Holder. 
1  PB  Haze  Filter  (for  Kodachrome ) . 
1  PB  Conversion  Filter   (for  converting  Type  A  tn 

daylight). 
1  PB  Filter  Pouch. 

For  All  Standard  Makes  of  8mm's 
PONDER  &  BEST 
1015  So.  Grand  Ave.  Los  Angeles.  Calif. 


.'*«oVlSrpVoaSSWG  WD  BtTMl, 


Big  savings  on  genuine  orlhochrom- 
afic  movie  film  thai  assures  you  fine 
movies.  Just  the  fine  grain  and  pro- 
jection quality  you  want  for  your 
outdoor  movies.  Guaranteed  satis* 
foetion.  (Weston  8,  Scheiner  17^) 

16MM.-100  FEET  $1.95 

8MAt  -  2S  FEET,  DOUBLE  8 . . . .  1.25 

A         'f^'Ce  /n.:.'.:fe:  P-<e::^       cod  Jfe'^rnj 


m  TOWER  FILMS 

DEPT.  H. 159  E.  CHICAGO  AVE.,  CHICAGO/ 111. 


•  Continued  from  Page  275 

as  indicate  the  high  type  of  content  of 
the  entire  film. 

After  tracing  the  origin  of  the 
stream,  Willis'  camera  then  trains  up- 
on each  of  Yosemite's  seven  great  wa- 
terfalls, treating  each  in  a  series  of  well 
composed  shots.  Each  fall  is  displayed 
in  a  long  shot  followed  by  medium  and 
closeup  shots,  when  possible,  and  always 
the  camera  angle  is  altered,  carefully 
chosen  to  lend  the  best  possible  com- 
position. 

Whether  Willis  wrote  his  titles  first 
and  filmed  his  shots  to  match,  or  wrote 
the  titles  afterward,  we  do  not  know. 
But  each  seems  so  dependent  upon  the 
other  and  so  interestingly  are  they  writ- 
ten, they  enhance  continuity  almost 
as  much  as  would  spoken  commentary. 
Here  is  one  example  of  classic  title  com- 
position which  highlights  the  picture 
in  more  than  one  instance: 

"Hemined  in  on  three  sides  by  solid 
rock,  echos  of  crashing  water  reverbe- 
rate from  cliff  to  cliff."  It  is  not  hard 
to  imagine  the  added  interest  these 
words  create  in  the  scenes  that  follow; 
how  much  more  live  and  powerful  they 
make  the  roaring  turbulent  water  ap- 
pear. 


Willis'  imaginative  title  composition 
makes  his  shots  dramatic.  Again  the 
vividness  of  words  make  more  real  the 
action  of  the  river  when  this  series  of 
titles  describes  a  phase  of  the  river's 
journey: 

"The  Merced  river,  coursing  through 
mountain  passes,  is  suddenly  constricted 
in  a  rock-bound  gorge."  This  is  fol- 
lowed by  two  shots  of  swirling  waters. 
Then: 

"Then  frees  itself  in  a  mad  rush 
downward.  .  .  ."  The  camera  pans,  fol- 
lowing the  water  in  its  downward  fight. 
Here  another  title  is  cut  in  "Straight 
down  and  down.  .  .  ."  The  camera  picks 
up  the  falls  from  another  angle;  then 
a  title  precedes  a  shot  showing  the  wa- 
ter continuing  on  its  way:  ".  .  .  and 
spreads  into  a  giant  fan." 

Contrary  to  accepted  belief,  the 
abundance  of  titles  offer  no  jarring 
visual  reaction.  This,  for  two  reasons. 
First  because  Willis  employed  fades  and 
dissolves  in  opening  and  closing  his 
titles,  and  second,  because  each  title 
was  composed  over  a  subdued  pictorial 
background  in  keeping  with  the  gen- 
eral tone  of  the  scenes.  Had  the  titles 
consisted  of  plain  lettering  on  a  light 
background,  there  is  little  doubt  they 
v.'ould    have    become    tiresome  after 


1003   riNNSTLVANIA  AVt  M  W.,  WASHINGTON.   D.  C. 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1941 

AUGUST;  "Dedication,"  produced  by 
Alex  W.  Morgan,  Toledo,  Ohio.  An  8mm 
Kodachrome  picture,  400  feet  in  length. 

SEPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland.  Ohio.  A  16mm  Kodachrome 
picture,  400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  j.  O.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

NOVEMBER — No.  award. 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 


picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Ceurts,  Salt  Lake  City,  Utah.  A 
1  6mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch,"  pro- 
duced by  Roland  Ray,  Los  Angeles, 
Calif.  An  8mm.  picture,  400  feet  in 
length. 

MAY:  "Oliver  Twist,"  produced  by 
David  E.  Bradley,  Winnetka,  Illinois.  A 
16mm.  picture  approximately  4000 
feet  in  length. 

JUNE:  "A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  8mm.  Koda- 
chrome picture,  200  feet  in  length. 

JULY:  "White  Waters"  produced  by 
C.  A.  Willis,  Merced,  Calif.  A  16mm. 
Kodachrome  picture,  400  feet  in 
length. 


HOME  MOVIES  FOR  JULY 


PACE  283 


awhile  in  spite  of  their  interesting  and 
informative  content. 

From  a  critical  production  viewpoint 
this  picture  rates  high  in  all  depart- 
ments: continuity,  photography,  edit- 
ing and  titling.  Its  an  excellent  example 
of  how  continuity  can  be  injected  into 
any  scenic  or  travel  picture  if  the  film- 
cr  will  just  use  his  imagination  and 
be  willing  to  work  beyond  the  mere 
filming  of  scer^es. 

Willis'  photography  is  notable  for 
good  lighting  and  excellent  exposure 
in  n(!diticn  to  judicious  camera  set-ups. 
I  Ji^  .ibility  is  explained  in  a  letter  which 
accompanied  his  picture,  indicating  that 
he  studied  his  subject  carefully  before 
setting  out  to  shoot.  Part  of  his  letter 
follows  here  and  is  offered  for  the  val- 
uable information  it  contains  for  other 
amateurs  who  may  wish  to  film  the  sce- 
nic wonders  of  Yosemite: 

"Living  as  I  do  within  two  hours  of 
Yosemite,  and  with  an  ardent  desire  to 
record  its  beauties  in  color,  I  have,  per- 
haps, spent  more  time  in  lugging  cam- 
era, tripod  and  gadget  bag  over  its  trails 
that  any  but  Yosemite's  resident  pho- 
tographers. 

"In  general  conformation,  Yosemite 
is  a  "U"  shaped  gorge  seven  miles  long 
and  one  mile  wide  lying  in  an  East  to 
West  position.  As  Yosemite  Valley  ave- 
rages between  two  and  three  thousand 
feet  in  depth,  filming  the  falls  to  best 
advantage  presents  problems  in  time 
and  place  so  that  the  sun  will  be  in  the 
proper  place  to  photograph  each  fall  to 
best  advantage. 

"I  will  assume  that  all  filming  of 
Yosemite  will  be  in  color.  First,  the  all- 
important  question  of  exposure:  gener- 
ally speaking  there  are  three  types  of 
summer  filming  days.  If  the  sky  is  over- 
cast, good  Kodachrome  pictures  are  out 
of  the  question.  Spring  and  early  sum- 


mer is  what  I  call  the  F  9  season.  Due  to 
reflected  light  from  clouds  the  light  is 
brighter  than  later  on.  From  the  middle 
of  June  through  to  the  first  rains,  F  8 
is  just  about  right. 

"Don't  let  an  exposure  meter  fool 
you.  Remember  that  the  falls  will  show 
up  white  whether  you  shoot  at  F  3.5  or 
F  II.  The  important  thing  is  to  get 
proper  exposure  on  the  surrounding 
scenery.  If  the  green  trees  show  up 
really  green,  the  falls  will  take  care 
of  themselves. 

"I  have  a  Weston  Master,  but  I  have 
learned  to  use  it  to  get  the  prevailing 
light  intensity,  and  not  the  read- 
ing of  any  particular  scene.  If  you  want 
to  use  your  meter,  take  a  reading  of  a 
green  tree  full  in  the  sun,  and  exposure 
will  be  about  right  for  distant  shots. 

"If  you  do  not  have  a  meter,  just 
follow  the  instructions  with  each  box 
of  Kodachrome.  Eastman  makes  the 
film,  and  they  know  how  it  should  be 
exposed — F  8  for  average  exposure; 
open  up  stop  for  dark  subjects;  and 
stop  down  Yz  stop  for  light  colored 
subjects.  Just  remember  that  while  you 
are  taking  pictures  of  the  falls,  the  real 
subject  is  the  surrounding  scenery,  and 
you  can't  miss. 

"Now  we  will  assume  you  want  to 
film  Yosemite,  and  have  but  one  day  in 
which  to  do  it.  The  five  major  falls  are 
in  full  sun  from  a  position  in  which 
they  can  be  photographed  at  the  fol- 
lowing time  of  day: 

Cascades   10:00  a.m.  to  12:00  noon 

Yosemite   11:00  a.m.  to    3:00  p.m. 

Vernal   12:00  p.m.  to    5:00  p.m. 

Ribbon    1:30  p.m.  to   4:00  p.m. 

Bridalveil    3:00  p.m.  to    6:00  p.m. 

Western  filmers,  and  others,  would 
do  well  to  paste  this  information  in 
their  notebooks.  It's  right  from  the 
"feed  box"  from  a  man  who  knows, 
and  who  has  a  swell  movie  to  prove  it! 


CLo^e-up  ^ilmin^ 


•  Continued  from  Page  2y  i 

ciple  of  the  devices  for  both  classes  is 
the  same — adding  to  the  camera,  as  a 
temporary  attachment,  a  wire  frame 
which  defines  the  subject  area  and  plane, 
together  with  a  supplementary  lens 
which  refocuses  the  camera  for  the  de- 
sired plane.  The  frame  serves  both  as  a 
finder  and  a  focusing  device  of  high 
precision.  Since  it  is  just  outside  the 
picture  area,  it  does  not  show  in  the  pic- 
ture. A  satisfactory  and  easily  made  at- 
tachment for  photographing  at  a  dis- 
tance of  ten  inches  is  shown  in  Fig.  2. 

While  this  focusing  method  is  not 
continuously  adjustable,  experience  has 
shown  that  such  adjustment  is  not  nec- 
essary, and  that  several  fixed  magnifi- 
cations are  quite  satisfactory.  The  situ- 


ation in  photographing  small  objects 
differs  from  normal  photography  in  that 
the  subject  distance  is  quite  critical, 
and  hence  the  definite  subject  plane  is 
a  simplification  rather  than  a  restric- 
tion. Moreover,  it  is  a  simple  matter  to 
move  camera  or  subject  when  inches  are 
concerned,  but  quite  inconvenient  when 
photographing  at  several  feet. 

Many  uses  suggest  themselves  for  this 
focusing  method,  such  as  the  study  and 
teaching  of  some  phases  of  natural  his- 
tory, the  demonstration  of  hand  work, 
technic,  manufacturing  operations, 
trick  titling,  and  the  many  extreme 
close-ups  necessary  in  producing  photo- 
plays. The  greatest  feature  is  its  in- 
stant  readiness   and   the  fact   that  it 


News  Thrills  oi 


1942 


Official  Films  brings  you  the 
epic  battles  that  mean  the 
turning  point  of  tJie  war  .  .  . 
blistering  examples  of  cour- 
age and  daring. ..cram-packed 
with  adventure  and  the  spirit 
of  Victory! 

All  This  In 
One  Home  Movie 

if  MacArthur  in  the  Phillipines 

MacArlhur  Takes  Supreme  Com- 
mand in  Australia 

if  Bombing  of  Manila 

if  British  Bomb  Paris 

if  Germany  Blitzed  by  R.A.F. 

if  Chiang  Kai-shek  and  Stillwell  in 
Burma 

if  Allied  Convoys  Foil  Axis  Attacks 
if  "Flying  Tigers"  in  the  Far  East 

See  The  Heroes  Oi  The 
Hour  In  Your  Own  Home 


DOOLITTLE 

Order  From  Your  Dealer  .  .  .  Todayl 


8mm.  SHORT  . 
8mm.  FEATURE 
16mm.  SHORT  . 

16mm.  FEATURE 
16mm.  SOUND  . 

WRITE  FOR  LITERATURE 


P|.  Of  fICfAL  FILMS 


425*^Fourth  Ave.,  New  York,  N.  Y, 


$1.75 
5.50 
2.75 
8.75 

17.50 


PACE  284 


HOME  MOVIES  FOR  JULY 


1  6mm.  S.  O.  F. 


SOHGS 


us\c 


3  Minute  Musical  PIctoreel  Playlets 

Produced  by  Associated  Producers  Distributing, 
Inc.  From  Hollywood  to  your  home,  club  or  lodge, 
unforgettable  tunes  that  are  always  fresh,  pre- 
sented in  a  novel  way.  Sung  by  top-flight  Radio 
and  Stage  Stars  surrounded  by  a  bevy  of  beauti- 
ful girls.  These  unusual  musical  shorts  will  pep 
up  your  program  and  make  your  evening  a  sure- 
fire success. 

GERTRUDE  NIESEN  singing  OH  JOHNNY 
in  her  own  inimit.ible  way,  as  Bonny  Baker,  and 
climaxing  it  with  a  rendering  a  la  Mae  West. 
TROPIC  SWINGEROO— A  Hawaiian  surprise  of 
songs  and  dances — with  Andy  lona  Orchestra. 
SAY  SI -SI — The  popular  hit  song  as  rendered  by 
an  American  couple,  Dutch,  Russian  and  Italian. 
WHEN  YOU'RE  NEAR  ME— delirercd  by  those 
two  popular  songbirds,  Vyola  Vonn  and  Gene 
Grounds. 

RUDY  VALLEE  doing  the  popular  song  LYDIA, 
as  a  circus  barlter. 

LOVE    SONGS    OF     RINALDO  — A  Spanish 
Troubador  sings  love  songs  to  his  maiden  fair. 
P  L  A  Y  M  AT  ES  — Girls    and    Boys  frolicking 

thr'>u;;h  tlie  song. 

OH  SUSANNA— Stephen  Foster's  Immortal  song 
siuig  as  it  should  by  a  group  of  early  American 
pioneers. 

THE  GOLFER'S  LAMENT— A  comic  travesty 
on  the  well-known  golf  dud. 

SHADRACH — The  Shadrach  boys  doing  their 
stuff. 

GEORGIE  P  0  R  G  I  E  — Collegiate  Jitterbugs 
beating  it  out. 

THE  MAN  WHO  COMES  AROUND— A  musical 
fun-fest  with  the  outstanding  performer,  Char- 
maine. 

Write  today  for  further  information. 
Sole  Distributor 

PICTORIAL    FILMS,  INC. 


RKO  BIdg..  Radio  City 


New  York  City 


TITLE  CENTERING  GUIDES 

for  all  popular  makes  of  8mm.  and  16mm.  cameras 
IN  PAMPHLET  FORM  ...  10c  EACH 

Now  ready  for  the  following  cameras: 

Revere  Snim.  '.^11  models) — Smm.  Magazine  Cine 
Kodak— Single-lens  8inm.  Filmn — 8ram.  Turret  Filmo 
Smm.  Cine  Kodaks  20,  25  and  60— 8mm.  Keystone 
—16mm.  Cine  Kodak  K— 16mm.  Model  70  Filmos— 
121  Filrao — 141  Filmo — Cine  Kodak  E — Cine  Kodak 
K. — Ifimni.  Victor — 16mm.  Keystone.  Models  A3,  A" 
and  Bl. 

Be  Sure  to  Specify  Make  and  Model  and  Camera 
When  Ordering. 

HOME  MOVIES  MAGAZINE 


6060  Sunset  Boulevard 


Hollywood.  California 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   an<l  Professional 
16mm   —  Smm 
Black   &   White,   Tinted   and  Kodachrome 
Write  for  our  new  illustrated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N.  Y. 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BERNDT-MAURER  RECORDER 

CEO.  W.  COLBURN  LABORATORY 

1197-A  Merchandise  Mart  CHICAGO 


When    You    Buy  BAIA 
You  Buy  the  Best 

Precision  Made; 
Guaranteed  Perfect 

$2.75 

From  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
IfiG  Victor 
Hiehland  Park,  Michlsan 


leaves  the  photographer  free  to  concen- 
trate on  his  subject.  It  is,  of  course,  but 
a  temporary  solution  of  the  problem, 
but  until  such  time  as  photographic 
presbyopia  is  overcome  in  camera  de- 
sign, the  defect  may  be  treated  as  are 
human  eyes  so  afflicted,  by  the  fitting 
of  spectacle  lenses. 

As  mentioned  above,  cine  camera 
lenses  are  not  designed  to  focus  on  ob- 
jects closer  than  two  feet.  The  supple- 
mentary lens  is  not  only  the  simplest 
m.ethod  of  focusing  for  shorter  dis- 
tances, but  it  also  has  a  decided  advant- 
age, since  the  indicated  F  aperture  of 
the  camera  lens  is  still  valid,  even  for 
very  short  distances.  Thus,  the  same 
aperture  setting  is  used  for  the  photog- 
raphy of  small  objects  as  for  distant  ob- 
jects, provided  the  supplementary  lens 
is  large  enough  to  avoid  cutting  off  the 
marginal  rays. 

When  the  camera  lens  is  focused  for 
infinity,  the  focal  length  of  the  sup- 
plementary lens  required  is  equal  to  the 
distance  of  the  supplementary  lens  from 
the  object  to  be  photographed.  This 
is  independent  of  the  focal  length  of 
the  camera  lens.  The  supplementary 
lens  may  be  regarded  as  creating  a  vir- 
tual image  at  infinity,  for  which  the 
camera  lens  is  focused.  The  light  pro- 
ceeding to  any  one  pxjint  in  the  film 
plane,  forms  a  parallel  bundle  between 
the  camera  lens  and  supplementary  lens. 
The  degree  of  separation  of  these  two, 
therefore,  does  not  affect  the  focus:  the 
spacing  of  importance  is  that  between 
the  supplementary  lens  and  the  object. 
The  supplementary  lens  must  not  be  so 
far  from  the  camera  lens  that  part  of 
the  image-forming  light  is  cut  off.  As 
regards  the  optical  quality  required  in 
the  supplementary  lens,  for  object  dis- 
tances down  to  8  inches,  simple  spec- 
tacle lenses  of  the  Bausch  and  Lomb 
Celex  double  convex  type  have  proved 
satisfactory,  even  with  lens  apertures 
of  F  1.9.  The  theoretically  preferable 
type  is  plano-convex,  with  the  plane  or 
flat  side  facing  the  object.  For  subject 
distances  shorter  than  8  inches,  a  cam- 
era lens  of  the  required  focal  length 
should  be  used  as  a  supplementary  lens. 

Details  for  constructing  the  special 
frame  for  close-up  filming  are  as  fol- 
lows: The  distance  at  which  it  has  been 
found  most  satisfactory  to  film  small 
objects  such  as  flowers,  butterflies,  small 
animals,  large  insects,  etc.,  is  ten  inches. 
Therefore  the  first  item  we  shall  require 
is  a  length  of  board  to  form  the  base 
and  which  will  permit  attachment  of 
the  camera  and  provide  for  securing  the 
wire  frame  at  the  opposite  end  as  shown 
in  Fig.  2. 

The  proper  supplementary  lens  can 
be  mounted  easily  with  cellulose  cement 
in  a  wooden  upright,  as  shown,  using  a 
stepped  circular  hole  made  by  an  ex- 
pansion bit.  This  lens  is  mounted  close 
to  the  camera  lens,  and  so  that  its  cen- 


ter is  on  the  camera  lens  axis.  A  decen- 
tering  of  inch  is  not  objection- 

able. The  wire  frame  is  not  placed  ex- 
actly at  the  plane  of  sharp  focus,  be- 
cause it  has  been  found  impossible  to 
surround  all  objects  with  the  frame.  It 
is  therefore  set  i  Yz  inches  closer  to  the 
camera.  Experience  has  shown  that  the 
estimation  of  the  field  position  and  lim- 
its offers  no  difficulty  with  this  arrange- 
ment. 

The  frame,  of  wire  J/g  inch  in  diame- 
ter, is  made  to  exceed  the  field  limit  by 
about  V4  inch  on  all  sides.  The  ends  of 
the  wire  are  secured  to  the  base  and  a 
wooden  cleat  holds  the  frame  in  place. 
The  frame  is  bent  so  that  its  geometrical 
center  is  on  the  camera  lens  axis.  If  one 
side  of  the  frame  appears  in  preliminary 
pictures,  the  frame  may  be  shifted  or 
bent  as  required.  In  order  to  attach  the 
camera  to  the  base,  a  hole  is  drilled  for 
a  '/4  inch  it 20  machine  screw  to  en- 
gage with  the  tripod  bushing  of  the 
camera.  This  hole  is  so  placed  that  the 
camera  rests  against  small  blocks  that 
assure  replacing  it  exactly.  The  blocks 
are  placed  on  the  right  side,  as  shown, 
to  permit  easy  winding  and  reloading. 

If  desired,  the  supplementary  lens 
mount  may  be  hinged  at  the  base,  to  re- 
move it  for  di3tant  photography,  with 
which  the  frame  does  not  interfere. 

It  is  practical,  too,  to  mount"  a  '74" 
^20  thread  nut  on  the  under  side  uf 
the  frame  support  so  that  the  unit  may 
be  mounted  on  tripod  when  necessary. 

This  focusing  frame,  as  we  choose  to 
call  it,  may  be  designed  for  use  with  any 
make  cine  camera.  It  is  not  unlike  a 
typewriter  titler  in  construction  and, 
in  fact,  some  makes  of  titlers  are  so  de- 
signed they  may  be  used  for  the  purpose 
of  close-up  filming.  The  focusing 
frame,  however,  has  the  improvement 
of  the  off-set  centering  frame  which  al- 
lows bringing  small  subjects  into  the 
exact  plane  of  sharp  focus. 

With  the  focusing  frame  built  and 
fitted  to  our  camera,  we  are  equipped 
for  new  adventures  in  movie  making. 
Gardens  and  fields  abound  with  inter- 
esting subjects — flowers,  plants,  insects, 
etc.  Flowers,  being  the  easiest  to  find 
and  film,  attract  the  greatest  number 
of  ultra-close-up  filmers.  But  unless 
some  action  is  planned  for  such  movies, 
they  may  fall  far  short  of  the  success 
expected  of  them.  One  smart  filmer 
chose  to  picture  the  garden  through 
the  eyes  of  a  bee,  beginning  his  picture 
with  a  closeup  of  a  bee  buzzing  near  a 
large  blosrom.  In  clever  sub  titles,  the 
bee  tells  of  his  adventures  in  flitting 
from  flower  to  flower,  describing  flavor 
of  nectar,  and  how  the  pollen  "affects 
his  sinus,"  etc. 

With  .-.  little  imagination  plus  the  ac- 
cessory described  here,  anyone  can  make 
an  equally  successful  nature  study  film. 


HOME  MOVIES  FOR  )ULY 


PACE  285 


FOREST  de^enie  ^ilmLng. 


In  view  of  the  many  requests  for  Fag  Bags,  mentioned  in  the  May 
and  June  issues,  from  amateurs  producing  Forest  Defense  Films,  the  Forest 
Department  is  expediting  distribution  of  the  bags  by  placing  an  unlimited 
supply  with  the  Los  Angeles  regional  branch  office.  It  is  suggested  that 
henceforth,  interested  amateurs  make  requests  for  Fag  Bags  directly  to  this 
office,  directing  their  letters  to  U.  S.  Forest  Service,  Federal  Building,  Los 
Angeles,  Calif. 


Several  reports  are  on  hand  of  various  amateurs  and  cine  club  groups 
who  are  actively  engaged  in  filming  a  Forest  Defense  Film.  All  amateurs 
now  engaged  in  filming  a  picture  on  this  subject,  whether  or  not  it  is  to  be 
entered  in  the  contest,  are  asked  to  report  on  their  progress  to  date  to  the 
Editors  of  Home  Movies. 


Reproduced  below  is  letter  received  recently  from  the  Regional  For- 
ester's office  at  Missoula,  Montana,  commending  Home  Movies  and  all 
amateurs  on  the  project  of  filming  Forest  Defense  films.  Forester  Evan 
Kelley,  through  his  assistant  M.  H.  Wolff,  assures  all  amateurs-in  the  Mon- 
tana area  of  full  cooperation  from  his  office.  There's  a  good  suggestion  for 
a  Forest  Defense  film  main  title  in  the  last  line  in  his  letter — "Red  Enemy." 


United  States  Department  of  agriculture 
forest  service 


GIONAt.  FORESTE 


IIIFORMATIOK 
liotion  Pictures 


June  12,  1942 


Arthur  E.  Gavin,  Editor 
Home  Movies  Magazine 
6060  Sunset  Boulevard 
Los  Angeles,  California 

Dear  Mr.  Gavin: 

I  have  just  read  with  genuine  interest  the  article  in 
KoLie  Movies  magazine  in  regard  to  filming  forest  defense 
movies,  together  with  copies  of  the  initial  shooting 
script . 

I  am  sure  ycu  have  worked  out  an  excellent  idea  and  hope 
that  you  will  get  a  generous  response  i'rom  ari.ateur  movie 
fans.    As  I  think  of  the  nunber  of  people  v/ho  v(ill  be 
reached  when  these  anateurs  show  their  movies  to  friends 
and  neighbors,  I  become  more  and  more  enthusiastic. 

If  any  of  your  readers  cere  to  us  for  assistance  we  shall 
be  happy  to  help  them  in  every  way  that  we  possibly  can. 
He  certainly  appreciate  your  fine  cooperation  in  helping 
to  protect  our  forests  against  the  red  enemy. 


Very  sincerely  yours, 

EVAN  W.  KELLEY,  Regional  Forester 


Cp^nd  Mom  never 

now. 


miss  a  pictuije 


Make  sure  of  your  pictures — 


use  the 


G-E 


EXPOSURE 
METER 


to  guide  your  camera 

Movies  or  stills,  you  can  be  right  the 
first  time  when  you  have  a  G-E  exposure 
meter  to  help  you  set  your  camera.  No 
need  to  waste  a  shot!  On  most  pic- 
tures you'll  get  grand  results  by  just 
pointing  the  meter  as  you  point  your 
camera.  When  making  difficult  pictures 
you  can  often  get  the  best  exposure  by 
deciding  where  your  interest  lies,  and 
use  the  meter  to  measure  the  light  in 
that  area. 

The  G-E  meter  gives  you  simple,  one- 
hand  operation,  amazing  accuracy, 
positive  protection  of  shadow  detail, 
and  rich  color  (because  of  the  sharply 
directional  hood).  See  it  at  your  dealer's. 

Get  more  out  of  your  filming.  Get  the 
new  G-E  Photo  Data  Book.  It's  crammed 
with  suggestions  on  how  to  use  your 
meter  for  better  pictures.  Comes  with 
the  G-E  meter,  or  50c  at  your  dealer's. 

General  Electric,  Schenectady,  N.  Y. 


GENERAL  ®  ELECTRIC 


PACE  286 


HOME  MOVIES  FOR  JULY 


New  Features  for  Your  Filmo 

•  If  you  want  features  offered  by  newest 
Filmo  models  which  your  dealer  can't  de- 
liver immediately,  chances  are  that  B&H 
craftsmen  can  add  them  to  your  present 
Filmo  Camera  or  Projector.  New  "Mod- 
ernization Folders"  give  details  and  costs. 
Ask  vour  dealer  or  write,  stating  your  Filmo 
model. 

Use  This  Timely  A/fW  SfRWCf 

•  If  you  own  a  Bell  &  Howell  Camera  or 
Projector,  you  have  something  that  might 
be  difificult  to  replace  now.  So  you  ll  want 
to  take  especially  good  care  of  it.  Do  this 
with  assurance  and  economy  by  using  our 
new  Standard-Price  Sen  ice  Plan.  See  your 
dealer  or  write  for  prices  on  the  three 
classes  of  our  new,  economical,  mainte- 
nance and  repair  service.  Bell  &  Howell 
Company,  182  5  Larchmont  Ave.,  Chicago; 
New  York;  Hollywood;  Washington,  D.  C; 
London.  Established  1907. 

PRECISION-MADE  BY 


filming,  the  CircuA  .  .  . 


Hollywood  Sepia  .  . 

ESO-C 

A  New  MONOCOLOB  Smm.  Emul- 
sion tor  all  double  Sfflin.  omens.* 
Prices  include  spooliag  and  piocesiuie  vlttaDOt  additloDal 
cfaarge.  Slit  to  tbe  single  8inm.  width,  ready  for  projection. 
For  tlKse  mramer  bome  mories  ia  the  popular  (epia  ear- 
reotlj  used  in  many  Hollrvood  prodoetiotu.  •These  emol- 
rioos  available  for  ringle-nm  Smrn.  Univex  camera!  abo. 
Write  for  prices. 

ESO-C — Sepia  orttao  film,  witii  foil  anti-balo  base.  Pro- 
jects at  an  attractive,  vara  amber.  Excellent  supplement 
for  roar  Kodadnone  mories.  tIM  wet  («mI.  ^.70  per 
tkree  spMls. 

E80-A  —  Fine-grain,  contrast  semi-ortbocliramatic  film 
witb  aoti-halo  base.  Beeommeoded  for  eatei  ims  only. 
SI.20  per  s«mI.  $3.20  per  three  spmU. 
ESO-B — Super -ortbocliroraatie  film,  full  anti-iulo  protec- 
tiMi  for  use  on  exteriors  and  interiors.  Over  twice  as 
-  fast"  as  ESO-A.  $1.25  per  spMl.  $3.43  per  3  tpMls. 
ESO-D — Violet  ortbo  film,  anti-balo  l>ase.  Excellent  for 
splicing  into  yoor  Kodadmne  movies.  $iJO  per  tpMl. 
$3.S3  per  three  spiila. 
ESO-G — A  scarlet  semi-orthoeteanatie  film  witb  full  anti- 
balo  l>ase.  Becomraended  for  exteriors  ooly.Projeets  a 
pleasing  colorfnl  pictore — ideal  as  supplement  far  Koda- 
eiiroaw  movies.  $1.23  per  spMl.  $3.33  per  three  spMlt. 
Ask  ftr  ytor  1942  eatalos  cf  sh«rl  Mibjeet  films,  acces- 
saries and  twe  additioaal  panehrtnatic  ESO-S  filns  far 
yeir  eaaiera. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
iuarant«ei  these  Smrn.  filmt.  You  MUST  be  satisfied. 
We  »iJI  replace  any  film  purchased  or  refund  the  full  pur- 
chase price  if  you  are  not  fully  pleavsd  with  your  results! 

ORDER    AT    TODAY'S    LOW  PRICES! 

ESO-S  PICTURES 

"Quality  imm  Seriice" 
3943  Central  Street  Kansas  City.  MissMTi 


GRADUATE  TO  A  Scemonn 

3-star  SPLICER!  ^ 


•  Continued  from  Page  269 


And  some  of  us  cherish  the  boyhood 
experience  of  watering  the  elephants  for 
a  tree  ticket  to  the  big  show.  A  few 
recall  the  plight  of  a  neighbor  boy — 
perhaps  even  had  the  experience  them- 
selves— of  eating  too  much  popcorn, 
lemonade,  and  hot  dogs,  and  the  after- 
math of  tummyaches  and  early  retire- 
ment without  supper.  Here,  then,  is  a 
continuity  idea  for  our  circus  film — 
assuming,  of  course,  there  is  a  small  son 
or  daughter  in  the  family. 

Let  us  shoot  our  circus  scenes  from 
the  viewpoint  of  the  boy.  Weeks  before 
the  circus  arrives,  he  is  fascinated  by 
the  colorful  posters  on  signboards 
around  town.  The  big  day  arrives  and 
the  boy  is  on  hand  to  watch  the  tents 
go  up.  Husky  laborers  drive  stakes  with 
heavy  sledges  swung  in  rhythmic  strokes. 
Mechanical  "donkeys"  hoist  poles  and 
the  canvas  top  in  record  time.  Side- 
show banners  are  unfurled.  Shortly  the 
stage  is  set  for  the  first  afternoon  per- 
formance. Then  the  street  parade  be- 
gins.^ 

It's  about  time  to  make  a  shot  of 
Junior  eating  a  hot  dog  or  drinking  a 
bottle  of  pop.  The  parade  vanguard 
approaches.  Shots  are  made,  and  prefer- 


ably  from  various  vantage  points,  of 
the  most  interesting  features.  And  we 
should  remember  not  to  shoot  directly 
at  the  parade  with  the  procession  pass- 
ing the  camera  at  right  angles.  If  we  do, 
images  will  be  blurred.  Camera  should 
b;  set  up  to  shoot  cn  a.n  angle  toward 
the  oncoming  procession. 

As  the  spectators  move  to  the  circus 
grounds  from  the  parade  route,  we 
take  time  cut  to  shoot  cm  or  more 
closeups  of  the  boy  to  be  used  when 
editing  the  film.  Make  these  shots  show- 
ing him  expressing  delight  at  the  pass- 
ing parade  or,  having  spotted  the  pea- 
nut vender,  to  plead  for  a  nickle  for  a 
bag  of  peanuts. 

Returning  to  the  circus  grounds,  in- 
teresting human  interest  shots  can  be 
made  among  the  crowd  of  people  surg- 
ing before  the  ticket  window  and  en- 
trance to  the  big  show."  Here,  too,  is 
the  time  to  capture  best  shots  of  side- 
show barkers  in  action  and  character 
studies  of  attentive  and  prospective  pa- 
trons crowded  around  the  platforms. 
Make  another  shot  or  two  of  Junior 
eating  a  cone  of  snow  candy  or  a  box 
of  Cracker  Jack. 


EMULSION   RATINGS  FOR  8MM  AND   16MM  FILMS 


Schciner  Weston 


AGFA  AXSCO 
16ram   SSS  Pan- 
16  Hyi>an_ 


16mm  Panefaranatii 
ICaua  Bupresae  Pan.  Xegatire. 

Ifima  Positire  

Wmm  Flmaffrroroe  

Smrn  Twin-8  Hypan  

8mm  Filmopan  

Twin  gmm  Pan  

Twin  8mm  SS8  Pan  

Straight  8  Pan  


••DrPOXT 

Regular  Pan  (Ber.)  Type  3IL. 

Super  Pan  (Eer.)  Type  3«2  

S0P.-2   (X-PorBr.)   Type  3*1  

Type  314  Pan  (X.-P.  or  Be».)_ 
Positire  Type  600 


Soond  Becord.  Pos.  Type  601 
EASTMAX 

16aim  Super  XX  Pan  

16mm  Soper  X  Pan.  

ISmm  Safety   


ICm  Soond  Pan   

Pan.  Xegatire- 

Positive   

Super  X  Pan  


Begular  Pan.. 


Kodaeiiiome  (8  and  16aim)  

Kodaciirome  "A"  (8  and  16mm). 


»  r*r  Eerersal 

Panchro  

Ortbo   


c 

e. 

e 

ss 

s 

u 

S 

a 

29 

1 

27  1199 

89 

12s 

199 

24 

23  1 

32 

24 

48 

32 

21 

29  1 

16 

12 

24 

16 

27 

25  i 

64 

49 

199 

64 

12 

8  1 

3 

— 

2* 

—  I  12 

.3 

16 

24 

23  1 

32 

24 

U 

ii 

24 

23  1 

32 

24 

48 

32 

26 

18  1 

12 

19 

16 

12 

29 

27  1199 

89 

123 

109 

24 

23  1 

1 

32 

24 

48 

32 

29 

1 

18  1 

12 

8 

16 

U 

29 

28  1199 

89 

2S 

23  1  64 

49 

a 

24 

21 

29  1 

16 

U 

12 

— 

2  11/6 

17 

9  1 
1 

6 

1 

1 

_  1199 

89 

12s 

199 

24 

23  I 

32 

24 

48 

32 

20 

U  1 

U 

8 

16 

12 

23 

21  1 

24 

16 

23 

21  I 

24 

16 

ii 

24 

16 

10  1 

5 

3 

16 

4 

23 

21  1 

24 

29 

32 

24 

18 

18  1 

8 

5 

12 

8 

18 

14*1 

8 

f 

12 

4« 

18* 

21  1 

1 

8* 

12 

12* 

16 

23 

1 

21  1 

24 

16 

32 

24 

20 

18  1 

12 

8 

16 

12 

51 

17  1 

16 

6 

24 

Q 

Scheiper  1  West-p 


CENTRA 

Sai)er  5fete<Jrpan  

Super  raocbromatic 

Super  Ortho  

MoreUne  Ortbo  — 
SoBi-Ortfaa   


KIK-0-I.trX 

Xo.  1  

Xo.  2  

Xo.  3  

.Vo.  3  Gold  Seal— 

HOIJ,TWOOD 

S.  S.  Pan   

Pan 


Semi-Orttao 

rxivEX 

Standard  _ 
ntrapan 


CltraiMui  Super-Speed — 

GJIirtrACHBOME 

Begnlar  

Plus 


Saperpanez  Xo.  199_ 

Soperpmex  Xo.  24  

Cokctiw   


27  I  25 

24  I  23 

21  I  17 

19  I  U 

18  I  12 

I 

I 

18  I  _ 

29  I  _ 

26  I  24 

—  I  29 
I 
I 

26  I  25 

21  I  29 

18  I  12 
I 
I 

I  14 

I  IS 

I  21 
I 
I 

18  I  19 

29  I  17 

29  I  27 

23  I  21 

18  I  19 


I 


I  64 
I  24 
I  IS 
I  16 
I  8 
I 
I 
I 


I 

-I 
-I 
_l 

I 

I 

-I  17 
-I  29 

-I  23 
I 
I 

-I 


8 

I  12 
I  59 

I  _ 

I 

I 

I  59 

I  16 
I  8 
I 
I 

I  « 

I  12 
I  24 
I 
I 

I  8 
I  12 
1199 

I  24 
I  8 


40 
199 


**Batlngs  for  last  four  Dopant  films  are  for  strain  derel 
foraulas  and  uchniqne  employed. 

•With  filter. 


;s  for  rerersal  depoid  upon  ptoccuing 


HOME  MOVIES  FOR  JULY 


PACE  287 


Whether  successful  shots  can  be  made 
inside  under  the  tent  depends  upon 
weather  conditions  and  condition  of 
the  big  top.  If  the  canvas  is  fairly  clean, 
is  not  painted  and  the  day  is  bright, 
good  pictures  can  be  made  inside  with 
sunlight  filtering  through  the  canvas. 
With  Kodachrome  it  will  mean  using 
the  widest  stop.  With  super  speed  pan- 
chromatic film,  excellent  shots  can  be 
made  of  practically  everything  within 
scope  of  the  viewfinder. 

Best  shots  of  clowns  will  be  had 
from  ringside  seats.  Acts  in  the  rings 
will  require  a  telephoto  lens  for  best 
results  and  this,  of  course,  means  using 
tripod  or  some  other  substantial  camera 
support.  Without  a  telephoto,  filming 
of  main  events  must  be  confined  to 
those  that  take  place  in  the  nearest  ring 
and  in  the  immediate  foreground.  Save 
enough  film  for  a  windup  shot  of  the 
grand  finale  or  closing  parade.  If  you 
visit  the  sideshows  afterward,  canvas 
conditions  will  again  determine  the 
possibility  of  gaining  shots. 

Back  home  and  with  some  film  re- 
maining in  our  camera,  we  must  stage 
a  few  scenes  to  complete  our  continuity. 
When  the  circus  film  is  completely  ed- 
ited and  titled,  it  will  open  with  a  shot 
of  the  family  returning  from  the  cir- 
cus. The  boy,  wincing  and  feeling  of 
his  stomach,  obviously  suffers  from 
too    many    hot    dogs,    etc.  Entering 


the  house  he  slumps  into  a  chair 
and  is  soon  fast  asleep.  His  dream  of 
the  day's  events  follows.  We  see  the 
boy  reading  the  gay  circus  posters  on 
a  billboard.  Then  closeup  of  a  news- 
paper announcement  indicates  the  cor- 
cus  has  arrived.  This  will  be  followed 
by  a  shot  of  the  family  en  route  afoot 
or  by  auto  to  the  circus  grounds.  Fol- 
lowing in  order  will  be  shots  of  the  boy 
watching  the  husky  laborers  at  work 
erecting  the  tent;  the  parade  shots  in- 
tercut with  a  shot  of  the  boy  eating  a 
hot  dog;  and  all  the  other  shots  we  made 
in  their  regular  order  and  frequently 
intercut  with  those  made  of  the  boy 
drinking  pop  or  eating  Cracker  Jack 
or  peanuts.  To  accent  the  comedy  effect, 
cut  back  to  a  shot  of  the  boy  asleep  in 
the  chair  showing  him  unconsciously 
rubbing  his  painful  stomach. 

We  climax  the  picture  with  a  shot 
showing  all  the  family  but  Junior  seat- 
ed about  the  dinner  table.  Mother  looks 
off  scene  and  calls  to  Junior.  We  cut  to 
a  shot  of  Junior  as  he  awakens  momen- 
tarily. Hearing  the  word  "dinner"  he 
winces,  rubs  his  stomach,  indicates  he 
wants  no  supper  and  settles  back  to 
sleep  in  the  chair  as  the  picture  fades 
out. 

All  of  these  indoor  scenes  involving 
the  family  can  be  filmed  at  leisure  af- 
terward. An  appropriate  main  title  is 
provided  on  the  opening  page  of  this 
article. 


PreiA  lor  printing,  tit  Lei  .  .  . 


•  Continued  from  Page  277 

in  the  form  of  a  small,  shallow  box 
when  completed.  Start  with  a  piece  of 
'/2-inch  material  about  3"x4"  for  the 
base.  Around  this,  tack  strips  to  form 
the  sides.  These  should  be  sufficiently 
narrow  to  allow  the  type  to  extend 
above  about  Y^".  The  type  box  or  cab- 
inet may  be  constructed  along  similar 
lines.  Both  are  shown  in  Fig.  2. 

Next  item  is  what  may  be  termed  the 
"press" — the  impression  block  that  will 
be  used  in  actually  gaining  an  impres- 
sion of  the  inked  type  on  the  title  card 
as  shown  in  Figs.  4  and  5.  This  can  be 
made  from  an  ordinary  block  of  wood 
Yz  thick  and  3  "X4"  in  size.  Cover  one 
surface  with  two  layers  of  felt.  Our 
equipment  is  now  ready  to  use.  The 
next  step  is  to  set  the  type. 

It  is  suggested  that  the  chase  be  pre- 
pared in  advance  with  spacers  and 
blocks  so  that  three  or  four  slots  or 
spaces  are  provided  for  setting  the  type 
as  shown  in  Fig.  2.  In  this  way  the  type 
may  be  arranged  right  in  the  chase.  Af- 
ter the  text  has  been  arranged  and  cen- 
tered, the  assembled  type  and  blocks 
may  be  locked — made  firmer — by  in- 
serting wedges  of  wood  or  type  metal 


between  the  blocks  and  sides  of  the 
chase.  1 

One  important  thing  necessary  before 
completing  the  setting  of  type  is  to 
place  one  type  character  upside  down 
in  each  corner  of  the  box.  This  provides 
a  support  for  the  title  card  to  rest  upon 
so  an  even  surface  will  prevail  when 
the  impression  is  made. 

With  the  type  locked  in  place,  apply 
the  ink  by  working  the  inked  roller  over 
the  type  until  the  whole  is  evenly  coat- 
ed. Too  little  ink  will  result  in  faint 
and  uneven  impressions. 

Place  title  card  over  the  type  as 
shown  in  Fig.  4.  The  felt  covered  im- 
pression block  should  be  carefully  placed 
over  the  card  and  pressure  applied  by 
hand  for  a  few  seconds  as  shown  in  Fig. 
5.  A  steady  pressure  should  prevail  and 
care  taken  not  to  "wiggle"  or  twist 
the  hands  while  making  the  impression. 
After  removing  impression  block,  care- 
fully lift  the  card  to  prevent  smearing 
and  allow  ink  to  dry.  Complete  title 
cards  will  look  like  those  in  Fig.  6. 

After  a  satisfactory  impression  has 


•    Make  Editing  a  Pleasure  • 

EDIT  THE  CRAIG  WAY! 


Craig  Projecto-Editors 

Action-edit  your  movies  in  the  professional, 
Hollywood  manner  with  a  CRAIG  Projecio- 
Editor.  This  versatile  outfit  permits  careful 
inspection,  slow-motion  if  desired,  of  actual 
smoothly-animated  motion  on  its  brilliant 
miniature  screen.  Use  it  to  transform  ran- 
dom "shots"  into  smooth-running  sequences 
that  everyone  will  enjoy  seeing. 

8mm.  model,  as  illustrated  above,  complete  with 

Junior  Splicer.  Rewinds  and  film  cement  $37.50 

8mm.  Projecto- Editor  alone  $29.50 

16mm.  model  with  Senior  Splicer  and  Rewinds  $59.50 


Craig  8  &  16mm.  Senior  Splicer 

Makes  perfect,  straight,  professional-like  dry 
splices  .  .  .  quickly,  accurately,  and  without 
wetting  film.  Only  four  simple  operations  re- 
quired. For  Sound  or  Silent,  $10.95. 

—AT  ALL  DEALERS — 


Write  for  Illustrated  Folder 


CRAIG  MOVIE  SUPPLY  CO. 

^  1053  SOUTH   OLIVE  STREET 

*  LOS  ANGELES,  CALIFORNIA  • 


(^iUtM^  FOR  NEGATIVES 


A  GIFT  FOR  A  FRIEND  OR  YOURSELF 

What  every  camera  owner  needs  to 
l<eep  negatives  clean,  neat  and 
easy  to  find.  Look  like  books  — 
choice  of  blue,  green,  maroon  or 
black  binding. 

Each  file  has  Contents  Book  to  list 
up  to  720  negatives. 

At  Stores  or  Direct  Prepaid  Cl  AA 
on  10  Days  Money-Back  Trial  ^  I.UU 

No.  300  for  negatives  up  to  3%x5" 
Also  9x12  cm. 

No.  500  for  negatives 
up  to  5x7'/2".  Also 
35  mm  strips. 

Write  for  Folder  on 
other  Amfiles  —  Movie 
Reel  and  Slide  Files, 
Print  Albums,  etc. 


AMBERG  FILE  &  INDEX  CO.  tS>.\re?« 


PAGE  288 


* 

* 
* 


AlQ55a^Q  to 

tItQ  public  and 
ike  tetaiUt: 


been  obtained,  the  used  type  should  be 
carefully  cleaned  and  returned  to  the 
type  box.  An  old  toothbrush  moistened 
with  benzine  will  readily  remove  all  ink. 

It  is  possible  to  print  black  title  cards 
with  white  ink  in  this  manner,  too. 
White  ink  may  be  obtained  from  the 
same  source  as  the  black  and  there  is 
a  special  grade  made  especially  for  title 
work.  Unless  this  grade  is  used,  the  let- 


J^eel  Jellow  iilm^  cai^erni .  .  . 


PHOTO  LENSES 
AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 

We  have  no  connection 
with  any  other  firm 


Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  al 
yoiir  service — For  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-7 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

*  317  East  34th  Street  New  York  * 


BOLEX     PRICES  REDUCED 

NOW  you  can  own  an  8mm.  or  Ibmm. 
BOLEX  camera,  formerly  $283  (without  lens) 

tor    only     _  $191.50 

16mm.   BOLEX  with   1-inch  Wollensak  F:l.5 

lens,   focussing  mount — new   $235.00 

8mm.  BOLEX  with  I2i/2mm.  Wollensak  F:l,9 

lens,     only  _     $228.00 

Carr/ing  case  for  either   _  $39.50 

Free  Bats  Cine  Barsaingram  and 
supplemental  price  list. 


»  Continued  from  Page  276 

Little  wonder  Harnsberger  was 
moved  to  transfer  this  natural  master- 
piece on  Kodachrome  film.  Although 
the  cave  is  well  lighted  for  visual  in- 
spection, there  is  not  sufficient  light  for 
filming  purposes — especially  for  good 
results  with  Kodachrome.  Harnsberger 
rigged  up  several  batteries  of  photo- 
floods  in  reflectors  and  placed  these 
about  the  cave  to  augment  the  regular 
lighting  when  filming.  Powerlines  feed- 
ing the  regular  floodlights  made  it  pos- 
sible for  him  to  tap  current  at  any  point 
for  his  photofloods. 

As  each  new  roll  of  exposed  Koda- 
chrome was  screened,  a  definite  contin- 
uity began  to  take  shape  in  Harnsberg- 
er's  mind.  And  after  the  last  scenic  shot 
was  filmed,  he  gathered  together  a 
group  of  people  and  one  of  the  regular 
cavern  guides  and  made  several  contin- 
uity or  tie-in  shots.  These  consisted  of 
the  opening  shot  showing  guide  escort- 
ing a  group  of  tourists,  descending  a 
stair  leading  down  to  the  caverns.  Ad- 
ditional shots  were  made  picturing  the 
guide  describing  various  points  of  in- 
terest; tourists  inspecting  stalactitie 
formations  at  close  range;  and  other 
similar  bits  of  business  to  lend  human 
interest  to  the  completed  picture. 
These  scenes  were  cut  into  the  already 
edited  reel  of  scenic  shots  to  complete 
continuity. 

Descriptive  titles  were  next  inserted 
throughout  the  film  to  convey  the  idea 
to  an  audience  they  were  being  con- 
ducted on  an  actual  tour  of  the  Cav- 
erns. The  tie-in  shots  of  tourists  view- 
ing the  Caverns  in  company  with  the 
guide,  further  enhanced  this  illusion. 
The  Caverns  management  was  so  en- 
thused with  the  film,  they  had  ten 
prints  made  and  put  into  immediate 
circulation. 

Elated  with  the  success  of  his  first 
"feature  length"  picture,  Harnsberg- 
er looked  about  for  another  subject  to 
film.  Ten  miles  distant  from  Luray 
Caverns  is  another  famous  natural  at- 
traction —  Shenandoah  National  Park 
and  its  famed  Sky  Line  Drive.  Most 
tourists  visiting  Luray  Caverns  also 
visit    the   park.    So    Harnsberger  rea- 


HOME  MOVIES  FOR  JULY 

tering  will  appear  more  grey  than  white. 

One  advantage  in  printing  titles  this 
way  is  the  ability  to  print  title  text  on 
sheets  of  celluloid  which  may  be  laid 
over  art  or  photo  backgrounds.  Cello- 
phane may  also  be  printed  in  this  way, 
but  being  much  lighter  in  weight  and 
consequently  harder  to  handle,  should 
be  reinforced  by  a  sheet  of  cardboard, 
the  cellophane  taped  to  the  card  at  the 
corners  or  edges  to  hold  it  flat. 


soned  that  he  ought  to  feature  both  in 
a  single  film,  and  began  a  travelog  of 
Shenandoah  National  Park  as  a  com- 
panion subject  for  his  Luray  Caverns 
film.  Three  months  later  the  park  film 
was  completed,  edited  and  titled,  then 
spliced  to  the  Caverns  film  and  screened 
for  his  employer. 

He  saw  promise  in  Harnsberger's 
improved  picture  as  a  publicity  medium 
and  decided  to  have  a  narrative  sound 
track  added  and  28  Kodachrome  prints 
made  for  distribution  through  the  Vir- 
ginia State  Division  of  Publicity. 
Harnsberger  was  sent  to  New  York  to 
supervise  production  of  a  suitable 
sound  track.  Alois  Havrilla,  famed 
commentator,  was  engaged  as  narrator. 

Most  interesting  phase  of  the  produc- 
tion perhaps  was  the  lighting  of  the 
huge  underground  interiors  of  Luray 
Caverns.  Dozens  of  No.  2  and  No.  4 
Photofloods  were  used  in  reflectors. 
Harnsberger  stated  he  employed  the 
equivalent  of  40,000  watts  of  light  at 
all  times  and  that  even  with  this  vast 
amount  of  light,  he  was  obliged  to 
shoot  scenes  at  8  frames  per  second  with 
the  lens  opened  wide  to  f  1.5. 

^^Lightmg  a  cave  for  motion  picture 
photography,"  said  Harnsberger,  "Is  a 
difficult  problem.  The  area  that  must 
be  illuminated  is  so  large  and  the  col- 
ors are  of  such  a  nature  they  absorb 
rather  than  reflect  light.  Four  special 
cables  of  three  wires  each  were  run  to 
the  main  power  lines.  These  were  heav- 
ily fused  and  switches  were  so  installed 
as  to  be  able  to  cut  off  and  on  power 
at  any  point  desired.  At  the  end  of  each 
power  line  I  installed  a  block  of  six  out- 
lets where  branch  lines  could  be  plug- 
ged in. 

"Because  of  the  unusually  large 
area  to  be  illuminated  it  was  necessary' 
to  place  some  of  the  lights  within  the 
area  to  be  photographed.  This  made  it 
necessary  to  conceal  them  behind  stal- 
agmites and  stalactites  so  they  neither 
could  be  seen  nor  cast  light  into  the 
camera  lens.  Cables  also  had  to  be  con- 
cealed and  this  required  additional  cable 
footage  plus  a  great  deal  of  extra  time 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  we  invite  you  to  write  us 
about  your  requirements  .  .  . 

There  Is  a  Goerz  Letts  for 


HOME  MOVIES  FOR  JULY 


PAGE  289 


for  stringing  it  so  it  would  not  be 
picked  up  by  the  camera. 

"Other  unforseen  problems  were  en- 
countered such  as  the  dripping  water 
from  stalactites.  Often  in  the  middle 
of  a  filming  operation  a  photoflood 
bulb  would  burst  due  to  a  drop  of  wa- 
ter falling  in  its  hot  surface.  Dampness 
is  hard  on  all  photo  equipment  and  the 
lenses  often  became  fogged  especially 
after  entering  the  cave  from  the  out- 
side. Electric  shock  was  common  due  to 
handling  the  cables  that  became  water- 
soaked. 

"I  started  filming  the  Caverns  with 
one  1 6mm.  camera  but  found  it  was 
not  versatile  enough  for  my  needs  and 
traded  it  for  a  Bolex.  Lenses  used  were 
a  i"  Hugo  Meyer  f/1.5  with  a  Hyper 
Cinor  attachment  for  wide  angle  shots, 
and  a  3"  f/}.5  telephoto.  My  meter  is 
a  Smethurst  "High  Light"  and  gave  re- 
markable results.  Mittens  letters  were 
used  for  the  titles  in  the  first  10  silent 
versions  of  the  Caverns  film.  For  cen- 
tering on  close  shots,  I  used  an  Optiax 
viewing  device." 

In  spite  of  the  success  of  this  pro- 
duction, Harnsberger  remains  an  ama- 
teur. He  was  not  paid  for  his  efforts 
and  refuses  to  accept  payment  for  any 
of  his  filming  activities.  "I  prefer  to 
keep  movie  making  my  hobby,"  Harns- 
berger said,  "And  to  retain  my  amateur 
status  as  a  Reel  Feellow." 


DEFEAISE 

filming,  activities 


That  Uncle  Sam  respects  the  abil- 
ities of  advanced  amateur  cinematog- 
raphers  is  evidenced  by  the  government's 
recent  decision  to  accept  volunteers, 
from  the  ranks  of  amateur  and  semi- 
professional  cine  cameraists,  to  undergo 
specialized  training  in  professional  cine- 
matography under  tutelage  of  some  of 
Hollywood's  outstanding  studio  camera 
men,  as  preliminary  to  staffing  the 
Army  Signal  Corps'  fast  expanding 
photographic  and  motion  picture  di- 
visions. 

Qualifying  applicants  are  receiving 
six  weeks  of  intensive  training,  chiefly 
in  night  classes  in  various  major  Holly- 
wood studios,  but  culminating  in  actual 
daytime  field  work  under  guidance  of 
the  industry's  best  camera  men.  Stu- 
dents who  successfully  complete  the 
course  will  be  assigned  to  active  serv- 
ice as  members  of  the  Signal  Corps' 
Photographic  section. 

Enrollment  was  opened  to  American 
citizens  between  20  and  45  years  of  age 


to-  j/oin  the> 

\m  FELLOWS 


movie  amateurs  that  ever  clicked  a  cine  camera!  For  a  great- 
er measure  of  good  fellowship  among  brother  hobbyists, 
register  now!  Identify  yourself  as  a  Reel  Fellow  with  a 
handsome  gold  Reel  Fellow  emblem  and  a  Reel  Fellow 
insignia  on  your  camera.  If  you  shoot  8mm  or  i6mm  movies, 
or  if  you  are  interested  in  any  of  the  aspects  of  amateur 
movie  making,  you  are  invited  to  become  a  member  of  the 
Reel  Fellows.  $1.00  membership  fee  is  so  low  no  amateur  can 
afford  not  to  join.  Upon  receipt  of  your  membership  applica- 
tion, you  will  be  sent  membership  card,  gold  pin,  and  insignia 
for  your  camera.  Be  the  first  in  your  community  to  join! 
Fill  out  the  Reel  Fellows  membership  application  below  and 
send  it  in  immediately!  $1.00  is  all  you  pay.  No  dues.  No 
assessments. 


DETACH  HERE 


MEMBERSHIP  APPLICATION 

THE   REEL  FELLOWS 

REEL  FELLOWS 
c/o  Home  Movies 
6060  Sunset  Boulevard 
Hollywood,  Calif. 

I  am  enclosing  $i.oo  membership  fee,  for  which  please  enroll  me  as  a  member  of 
the  Reel  Fellows  and  send  me  membership  card,  gold  pin,  and  camera  insignia. 

I  have  been  shooting  movies  (length  of  time)    

My  equipment  is:  8mm  i6mm    


Name  . 


Address.. 
City  


State  . 


PACE  290 


HOME  MOVIES  FOR  JULY 


(omedy  |-jouse 

NEW  I   REEL  COMEDIES  IN   16MM.  SOUND 


SHIRLEY  TEMPLE 

in  "KID  N  AFRICA" 

COL.  STOOPNACLE 

in  "CAVALCADE  OF  STUFF  No.  1' 
(burlesque  screen  news) 

BOB  HOPE 

in  "BOB  S  BUSY  DAY" 

FELIX  THE  CAT 

Cartoon  "FUTURITZY" 

ANDY  CLYDE 

in  "THIS  GIDDY  AGE" 

SHIRLEY  TEMPLE 

in  "WAR  BABIES" 


PRICE  $18.00  EACH 

USUAL  DEALERS  DISCOUNT 

(omedy  |-jouse 


130  W.  46  ST. 


NEW  YORK 


BETTER 
BULK 
FILMS 


CORONA 


SAME  PRICE  FOR  ItMM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS 
PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 

CORONA-PAN    24-16       $3.15  JII.60 

ORTHOCHROMATIC    ....  12-  4         1.75  6.00 

8EMI-0RTH0    12-  4         1.30  4.25 

MACHINE  REVERSAL  PROCESSING— Double  S 
•r  ISmm— leo  ft.,  85e;  50  It.,  65e;  25  ft.,  50c. 

All  Orden  shipped  Postpaid  Except  C.O.D. 

FREE  BOOKLET  on  home  processing  Instructions, 
plant  and  formulae  with  orders. 
Single  copies,  13c 

CORONA  FILM  LABORATORIES 

1028  NEW  YOEK  AVE.      BROOKLYN,  N.  Y. 


.PARK  CINE 


Announces  its  new  Title  Catalogue  ^8 

1  1   SMART  TYPE  STYLES 

50  ARTISTIC  BACKGROUNDS 

PRICES  THE  SAME  AS  BEFORE!! 

Now  Available  for  the  First  Time! 

Beautiful  Kodachrome  titles  .  .  .  clever 
animations  .  .  .  distinctive  hand  lettering. 


PARK   CINE  LABORATORY 

120  West  41st  St.  New  York  City 


Reversible  Film,  100  Ft  $1.95 

8mm.  Double,  25  Ft  $1.50 

PRICES   INCLUDE  PROCESSING 

Silly  Symphonies,  Charlie  Chaplin  and  other 
features  at  IVzt  per  foot  for  complete  suljject. 
Write  today  for  our  catalogue  of  finished  subjects. 

STAR    SAFETY  FILM 

630  Ninth  Ave.        Film  Center  BIdg..  N.  Y.  C. 


8 ENLARGED    m  f\ 
TO  16 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

ip&cuU  Motion  Picture  Printing 
ll?7-A  MERCHANDISE  MART 
CHICAGO 


'  and  involved  enlistment  for  Field  Serv- 
ice in  the  U.  S.  Army  Signal  Corps 
Reserve. 

No  fees  or  tuition  expenses  were  re- 
quired but  a  basic  knowledge  of  pho- 
tography and  a  sincere  interest  in  pic- 
ture making  are  essential. 

In  charge  of  this  training  project  is 
the  Research  Council  of  the  Academy 
of  Motion  Picture  Arts  and  Sciences 
which  already  has  established  close  con- 
tacts with  the  Signal  Corps  through  the 
production  of  many  Army  Training 
Films.  While  the  complete  instructional 
staff  has  not  yet  been  named,  it  will  in- 
clude some  of  the  industry's  foremost 
cinematographers,  experts  particularly 
in   difficult   location   and   field  camera 


work.  Chairman  of  committee  in  charge 
of  cinematography  training  is  Fred  W. 
Jackman,  president  of  The  American 
Society  of  Cinematographers.  Serving 
with  him  are  Hollis  F.  Moyse,  A.S.C., 
C.  Roy  Hunter,  camera  chief  at  Para- 
mount Studios,  and  others. 

"None  of  us  are  so  optimistic,"  Jack- 
man  said,  "As  to  imagine  that  six  brief 
weeks  of  instruction  can  take  the  place 
of  years  of  practical  training  and  ex- 
perience. But  by  eliminating  all  non-es- 
sentials and  concentrating  on  strictly 
practical  essentials,  we  are  confident  we 
can  train  men  who  already  have  a  good 
grounding  in  amateur  cinematography 
into  camera-carr)'ing  soldiers  who  can 
get  the  pictures  the  government  needs." 


Controlling^  ^ocu^  .  .  . 


•  Continued  from  Page  2~ 4 

focus.  The  illustrations  for  this  article 
have  been  prepared  to  afford  a  better 
visualization  of  the  principle  of  depth 
of  field.  It  should  be  remembered  that 
as  the  opening  of  the  lens  becomes 
smaller  the  area  that  is  in  focus  becomes 
greater.  Thus  at  a  smaller  f  number  we 
have  a  greater  depth  of  field  and  this 
is  explained  further  in  the  Depth  of 
Field  Table  at  bottom  of  this  page. 
It  will  be  noted  that  if  our  camera  is 
focused  at  ten  feet  and  the  lens  opening 
is  i/  Z.J,  it  will  be  in  sharp  focus  from 
6  feet  to  28.5  feet;  but  if  we  stop  down 
to  f  8  we  will  have  a  much  greater 
depth  of  focus,  from  3  Yz  feet  to  in- 
finity. 


In  the  illustrations,  the  row  of  cards 
represent  the  various  distances  focused 
on.  The  ace  represents  the  greatest  dis- 
tance or  infinity  and  the  King  the 
closest  distance  our  camera  will  cover. 
In  Fig.  I  we  have  focused  our  camera 
at  infinity  on  the  ace  and  our  lens  is 
wide  open  or  at  the  largest  aperture. 
The  ace  is  in  sharp  focus,  the  2  is  still 
fairly  sharp,  but  the  rest  of  the  cards 
are  out  of  focus,  the  image  growing 
progressively  fuzzier  as  it  nears  the 
camera.  In  Fig.  2  camera  is  focused  on 
the  ace  with  lens  set  at  infinity,  but 
the  lens  is  stopped  down  to  its  smallest 
opening  which  brings  all  cards  up  to  the 
No.  7  into  sharper  focus. 


TABLE  OF  HYPERFOCAL  DISTANCES 

1.9        2.7       3.5         5.6        8       1  1  16 

Vi  inch  lens   25  ft.     15  ft.     12  ft.       8  ft.      6  ft.     4  ft.     3  ft. 

1   inch  lens    42  ft.     30  ft.     25  ft.     1  5  ft.     11  ft.     8  ft.     6  ft. 

Camera  will  be  in  focus  from  V2  the  hyperfocal  distance 
to  infinity  for  the  various  stops. 

DEPTH  OF  FIELD  TABLE 

Distance  r-  «-ENS  APERTURES  , 

Focused  On                    1.9                  2.7                   3.5  5.6 

3  feet                  2'  8"-  3'  6"  2'  5"-  3'  7"  2'  5"-  4'  2'  2"-  4'11" 

4  feet                  3'  5"-  4' 10"  3'  2"-  5'  4"  3'      -  5' 11"  2'  7"-  8'  5" 

6  feet                    4'  9"-  8'  2"  4'  3"-  9'  8"  4'      -11 '10"  3'  4"-28'  6" 

8  feet                    5'11"-12'  5"  5'  3"-16'  6"  4'10"-23'  2"  4'  -inf. 

10  feet                   6'11"-18'        6'  1  "-28'  5"  6'  5"-56'  4'  4"-inf. 

12  feet                    8'  2"-26'  6"  6'  7"-54'  3"  5'10"-inf.  4'  6"-inf. 

15  feet                    9'       -45'         7'  6"-inf.         6'  9"-inf.  5'  l"-inf. 

25  feet   12'       -inf.         9'  5"-inf.         8'  2"-inf.  5'10"-inf. 

Infinity    18'       -inf.        13'  3"-inf.        10'  6"-inf.  6'  9"-inf. 

Distance  ,  LENS  APERTURES  v 

Focused  On  8  11  16 

3  feet    I'll"- 16'  1'  8"-18'3"  1'  5"-inf. 

4  feet    2'  3"- 15' 11"  I'll  "-inf.  1'  7"-inf. 

6  feet   2'10"-inf.  2'  4"-inf.  l'10"-inf. 

8  feet    3'  2"-inf.  2'  7"-inf.  2'  T'-inf. 

10  feet    3'  5"-inf.  2'  8"-inf.  2'  2"-inf. 

12  feet    3'  7"-inf.  2'  9"-inf.  2'  2"-inf. 

15  feet   4'  2"-inf.  3'  l"-inf.  2'  3"-inf. 

25  feet   4'  7"-inf.  3'  4"-inf.  2'  5"-inf. 

Infinity    4'  9"-inf.  3'  6"-inf.  2'  6"-inf. 


IINI!)     "«j  Whit. 

/  Movie  Films. 
THMFI  # 

Write  for  Literature 

Teitel  Loborotories  c<^bN°*N'" 


HOME  MOVIES  FOR  )ULY 


PAGE  291 


Figure  3  represent  the  closest  distance 
focused  on  with  the  largest  opening. 
The  King  is  in  focus  but  the  rest  of  the 
cards  are  not  sharp.  Figure  4  shows  the 
same  distance  focused  on  but  the  lens  is 
again  closed  down  to  its  smallest  open- 
ing and  the  focus  extends  to  approxi- 
mately the  8.  However  we  still  do  not 
have  both  ends  of  the  row  of  cards  in 
focus.  The  trick  is  to  focus  at  approx- 
imately the  middle  of  the  distances  we 
want  sharp.  Figure  5  shows  the  focus  on 

7  with  the  lens  wide  open.  Even  with 
the  lens  wide  open  we  have  the  6  and 

8  in  sharp  focus.  Figure  6  shows  results 
when  we  focus  on  the  7  and  again  stop 
the  lens  down  to  its  smallest  opening. 
The  depth  of  field  extends  approximate- 
ly to  both  ends  of  the  row  of  cards. 
Thus,  at  the  same  opening,  and  by  fo- 
cusing in  the  middle  of  the  two  dis- 
tances desired,  we  get  greater  depth  of 


field  than  by  focusing  on  the  nearer  or 
farthest  distances. 

By  using  the  depth  of  field  table,  one 
can  determine  the  extent  of  areas  want- 
ed in  focus  at  a  given  aperture  by  set- 
ting the  lens  accordingly.  As  an  ex- 
ample, let  us  assume  we  are  taking  pic- 
tures of  a  parade  and  we  do  not  want  to 
change  our  lens  setting.  Closeups  will 
be  taken  at  about  five  feet  and  the 
longest  shot  we  will  take  will  be  about 
50  feet  distant.  The  light  calls  for  an 
opening  of  f  3.5.  By  referring  to  the 
Depth  of  Field  Table  under  the  f  3.5 
column  it  may  be  seen  that  if  a  sharp 
focus  area  is  wanted  from  5  to  56  feet 
it  is  necessary  to  set  the  lens  at  10  feet. 

A  careful  study  of  the  tables  will 
prove  enlightening  and  it  is  suggested 
they  be  clipped  and  carried  along  when 
filming  as  a  guide  to  setting  camera 
lens  for  better  photographic  results. 


ZJrLck  iltoti  J4oll^wood  it^le 


•  Coiithiucd  from  Page  272 


•  Frequent  mention  is  made  in  this 
article  of  the  "Frame."  This  is  a  three- 
stage  framework  upon  which  larious 
cut-outs  and  masks  are  arranged  for  trick 
effects.  It  uas  illustrated  and  described 
in  detail  in  the  March  issue.  A  reiiew  of 
the  March  article  is  suggested  to  make 
clearer  the  procedures  described  here. 


doorway  to  correspond  with  the  sha- 
dowed area  on  the  model  set. 

Having  filmed  the  first  part  of  the 
action,  a  black  cloth  is  draped  behind 
the  opening  in  the  set,  the  cover  re- 
moved from  the  Frame  and  the  second 
exposure  made  on  the  model.  A  read- 
justment of  focus  must,  of  course,  be 
made  and  the  set  put  into  motion,  eith- 
er by  operating  the  wheels  and  filming 
at  normal  speed  or  by  single  frame  ani- 
mation. 

A  variation  of  the  same  type  of  ef- 
fect is  shown  in  Fig.  2.  The  seated  fig- 
ure was  first  filmed  against  a  black 
backcloth,  then  superimposed  by  a  sec- 
ond exposure  on  the  dark  area  of  the 
model  set  representing  the  deck  of  an 
ocean  liner.  The  boat,  railings  and  deck 
silhouette  is  cut  out  of  cardboard  and 
set  up  on  Stage  B,  receiving  no  illumi- 
nation. The  sea  and  sky  background  is 
painted  on  good  thick  drawing  paper, 
fixed  to  a  cardboard  frame  and  placed 
in  position  just  clear  of  Stage  C.  Dur- 
ing the  second  exposure,  this  back- 
ground is  moved  very  slowly  up  and 
down  to  suggest  the  rolling  of  the  ship. 
This  must  not  be  overdone  as  the  scene 
is  placid  and  there  must  be  no  sugges- 
tion that  a  storm  is  raging. 

In  addition,  moonlight  was  simulated 
in  the  following  way.  A  ragged  open- 


ing was  cut  in  a  piece  of  cardboard  to 
conform  to  the  "moon  track"  in  the 
sea,  and  set  up  a  few  inches  behind  the 
painted  drawing.  Twelve  inches  fur- 
ther back,  a  lamp  was  fixed  up  and  in 
front  of  it,  another  piece  of  card,  punc- 
tured with  many  small  holes.  Properly 
manipulated,  the  flickering  light  on  the 
surface  of  the  sea  can  be  accurately  re- 
produced. A  lot  of  trouble,  perhaps, 
for  a  single  shot,  but  worth  it  if  you 
want  a  belated  fadeout  finish  to  your 
cruise  film. 

Ordinary  children's  dolls  are  not 
good  subjects  for  animation,  but  amus- 
ing shots  of  the  type  shown  in  Fig.  3 
bring  novelty  to  the  routine  family 
film.  This  is  a  simple  split  screen  shot, 
using  the  balcony  pillar  to  cover  up 
inaccuracies  caused  by  the  difference  in 
distances  between  camera  and  subject 
in  the  two  exposures.  When  focusing 
down  to  the  doll,  the  lens  moves  ap- 
preciably nearer  the  high  diffusion  mask 
placed  in  the  mount  on  Stage  A,  and 
this  tends  to  upset  the  exact  register 
of  the  right  and  left  hand  masks.  Com- 
plications of  perspective  in  the  table 
are  avoided  by  choosing  an  "eye-level" 
position  for  the  table  top.  The  balcony 
in  silhouette  is  simply  a  cardboard  cut-- 
out  mounted  on  Stage  B  and  serves  to 
give  depth  to  the  picturee  as  well  as 
disguise  any  possible  defects  in  the 
masking.  Animation  is  given  to  the  doll, 
of  course,  by  single  frame  exposure.  The 
glass  screen  is  used  to  check  the  align- 
ment of  the  table  top.  The  Frame  is  set 
up  on  the  full  size  scene  and  the  table 
top  brought  to  coincide  with  one  of 
the  horizontal  lines  on  the  screen.  When 


Here's 
Your 
Best 
Buy! 

The  Versatile 

VICTOR 

Hi-Lo"  Twin 


j  I  ERE'S  a  lighting  unit  that  saves  electricity, 

prolongs  lamp  life,  provides  complete  con- 
trol in  lighting  indoor  subjects.  It  has  para- 
bolic, aluminum  reflectors,  swivel-mounted  on 
svvivcling  crnss-har,  VICTOR  Hi-Lo  .Switch.  3- 
scction  telescopic  stand.  Use  it  for  flood  or 
flash  lighting.  The  switch  puts  lamps  in 
series  circuit  for  half-light  to  save  lamps  dur- 
ing focussing,  arranging  subject,  etc..  or  for 
firing  flashlamps  in  accurate  synchronizing.  A 
flip  of  the  switch  puts  the  lamps  in  parallel 
circuit  for  full  brilliance  during  exposure. 

ACT  QUICKLY  WHILE  THE  SUPPLY  LASTS 

For    No.    I    Lamps  $13.75 

For    No.    2    Lamps   I6,8S 

AT  VICTOR  DEALERS 

SEND   FOR  FREE  INSTRUCTIVE  FOLDER 

James  H.  Smith  &  Sons  Corp. 


720  Lake  Street 


Griffith,  Indiana 


 ^8mm  FANS!~- 

DON'T  miss  corners  .  .  .  squash 
your   back   into  the  wall 
.  .  .  show  weirdly  "cropped"  shots. 

Get  ALL 

Of  the  Picture 

With  this  scientifically  correct 
WIDE  ANCLE  LENS,  you'll  get  new 
and  wider  visions,  more  professional 
home  movie  performance.  It's  the  .  , 

CINE  EXTENAR 


An  American  made,  supplementary  lens  to 
the  precision  standards  of  the  finest  camera 
lenses.  .Simply  screw  it  on  and,  PRESTO! — 
you  have  a  wide  angle  lens  of  identical  speed 
and  definition.  No  special  focus  adjustment 
required  with  CINE 

EXTENAR    $27.50 

Write  for  illustrated  folder,  giving  make  and 
description  of  your  present  8nim.  lens 

CAMERA  SPECIALTY  CO. 


46  West  29th  St. 


New  York 


PACE  292 


HOME  MOVIES  FOR  JULY 


CUT  HOME  MOVIE  COSTS 

with  BLACK  and  WHITE  tine 
grain  Semi-Orthocliromatic  Re- 
versible Film  for  finest  results — 
lowest  cost. 

16mm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $2.50 

Rating  Scheiner  18 

8mm.  Reversible  Outdoor  Film 

ft.  Double  8,  only  $1.25 

Same     day     processing  in- 
cluded.   Ask  your  dealer  or 
send  money  direct. 

Write  for  prices  for  develop- 
ing and  processing  for  8mm. 
and     16mm.     films  bought 
elsewhere. 

VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  Broadway,  Dept.  12         Brooklyn,  N.  Y. 


^-.^O  /  ^^^^^ 


Get  this  FREE  BOOK!  Every 
Movie  fan  should  have  it.  Chuck 
full  with  choicest  bargains  you 
ever  saw.  Daylight  Loading  Movie 
film  as  low  as  $1  per  roll,  pro- 
cessing included.  Also  hulk  film, 
and  dozens  of  bargains  in  acces- 
sories, screens,  reels,  titlers,  etc. 

Contains  BIG  NEW  LI.ST  166  film  subjects,  glam- 
our films,  cartoons,  westerns,  historical,  adven- 
ture and  sports  films  for  8mm.  and  ICmm.  Write 
today.  Your  name  on  postcard  brings  this  handy 
book  by  return  mail  FREE! 

ESSCO    FILM  PRODUCTS 
6117  S.  Campbell,  Dept.   H-7,  Chicago 


D-WILLARD  FITE  FILM! 
E 
M 
P 
S 
E 
Y 


1st- TIME  on  16mm  Sound! 

World's  most  memorable  HEAVTVVEIGHT  CHAM- 
PIONSHIP BOUT!  Fought  on  July  4th,  1919!  A 
professional  film  production,  complete  fight,  uncut 
(exactly  as  shown  in  theaters!)  REG.  $75,  NOW 
$48.  $8.50  with  order,  balance  $5  monthly.  ALSO: 
Louis,  Galento,  Pastor,  Nova,  Bacr  in  lOnim.  .Sound 
and  Smni.  Silent. 

M  0  G  U  L  L  '  S  \T\Tu^T 


8JJ  GENERA  MOVETONE  16j; 

LOAD  YOUR  OWN  SPOOLS  and  Save  Money 
Fine  Grain  Reversible  High  Grade  Non-Halo  Film. 

Use  in  Cine  Kodaks,  Victor,  Keystone,  Revere, 
T'nlvex,  Etc. 

100  ft.  double  8,  laboratory  packing — scored  $1.95 
100  ft.  straight  8  for  Univex  and  Keystone  $1.15 
400  ft.  double  8mm.  scored  for  separation  $6.35 

400  ft.  16mm.  in  400-foot  reel  container  $4.95 

100  ft.  16mm.  on  daylight  loading  spool  $1.95 
Write  for  Big  Bargain  Circulars,  our  processing  prices 

Fromader    Genera  Company, 


IS  Easy- 

^Try-it-yourgglf  KITJ>9o/y 

WRITE  •  A-to-Z  MOVIE  ACCESSORIES 

175  Fifth  Avenue  Dept.  H39  New  York,  N,  Y. 


NOW!!!  Spend  less  to  own  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 

ONYX      ONYX  ONYX 
8  24  Hi-Speed 

100  ft.  16  $2.25    $4.25  $4.75 

25  ft.  8/8          1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

EATINGS  — 8-24-!>0  for  Daylight 
Reversal  Precessine  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processing. 
KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO.  ILL. 


setting  up  on  the  model,  it  is  then  an 
easy  matter  to  see  that  the  table  top  in 
this  case  again  lines  up  with  the  same 
horizontal  mark  on  the  glass  screen.  In 
the  same  way,  the  figures  are  made  of 
a  similar  size  by  noting  the  level  of  the 
top  of  the  childrens'  heads  against  the 
screen  and  arranging  the  position  of  the 
doll  in  the  second  exposure  to  corre- 
spond. 

Without  going  to  the  extremes  of 
cartoon  work,  lifelike  animation  is  im- 
possible, but  very  amusing  effects  may 
be  carried  out  with  figures  cut  out  of 
cardboard  and  provided  with  simple 
jointed  limbs.  So  long  as  the  puppet  is 
a  puppet,  such  as  a  toy  soldier,  then 
the  audience  will  not  be  critical  of  jerky 
movements,  for  they  should  naturally 
expect  a  toy  soldier  to  move  in  this 
way.  Combining  the  activities  of  such 
puppets  with  those  of  the  smaller  mem- 
bers of  ones  family  is  perhaps  the  most 
fascinating  of  all  the  varieties  of  cam- 
era trick  work. 

A  typical  example  is  given  in  Fig.  4. 
The  sentry  box  is  a  proper  model  having 
genuine  depth;  the  top  of  the  wall  and 
turrets  beyond  is  a  painted  drop,  hung 
between  Stage  B  and  C;  the  castle  wall 
is  a  painted  backdrop  rigged  up  on 
Stage  C.  This  enables  the  sentry  to  walk 
across  the  courtyard  in  the  background, 
out  of  sight  to  the  left,  to  reappear, 
coming  in  from  the  left  in  front  of  the 
sentry  box.  For  this,  false  perspective 
must  be  introduced  by  having  a  second 
puppet  sentry  of  smaller  dimensions  for 
crossing  the  courtyard.  The  interval 
between  his  disappearance  and  his  re- 
turn can  be  covered  by  a  cut  to  another 
scene  showing  the  approaching  chil- 
dren. 

For  the  first  exposure,  the  backdrop 
is  removed.  With  a  mask  in  Stage  A  to 
cover  the  resulting  opening,  the  sentry 
box  and  top  of  the  wall  line  formed  by 
the  drop  will  provide  a  mask  opening 
for  the  shot  of  the  two  children.  The 
whole  Frame  must,  of  course,  be  draped 
with  a  black  cloth  and  the  apparatus  set 
up  on  a  suitable  stone  wall  which  will 
form  the  background.  It  will  help  the 
children  to  play  their  parts  if  a  grown- 
up stands  just  clear  of  the  mask  to  the 
left  in  the  position  which  will  later  be 
occupied  by  the  sentry. 

The  painted  backdrop  is  replaced  for 
the  second  exposure  and  the  area  al- 
ready exposed  deadened  by  hanging  up 
the  black  cloth  behind  the  model,  in 
shadow,  to  cover  the  opening  forming 
the  "wall."  To  simplify  the  manipula- 
tion of  the  puppet,  the  Frame  is  set  up 
in  the  vertical  position  with  a  piece  of 
clear  plate  glass  inserted  in  the  mount 
on  Stage  B.  The  cardboard  soldier  may 
then  be  laid  flat  on  the  glass  and  ani- 
mated by  moving  his  legs  and  arms  be- 
tween each  successive  single  frame  ex- 
posure. Care  must  be  taken  with  the 


lighting  to  avoid  unwanted  reflections 
from  the  glass  surface. 

This  trickery  is  carried  a  step  farther 
in  Figs.  5  and  6.  The  boys  coming  out 
of  the  door  of  the  doll's  house  pause 
and  wave  to  the  doll  sitting  in  the  chair 
on  the  veranda.  Then  they  run  towards 
the  camera  out  of  the  picture.  The  sec- 
ond doll  appears  in  the  aavie  doorway 
and  joins  in  the  farewells.  We  use  all 
the  tricks  we  have  learned  to  accom- 
plish this. 

The  seated  doll,  the  cottage  roof  and 
post  and  some  of  the  background  are 
models  set  up  between  Stages  B  and  C, 
leaving  an  opening  for  the  full  size 
background,  which  includes  the  door. 
A  black  cloth  is  hung  inside  the  door 
to  provide  a  dead  black  neutral  back- 
ground in  the  doorway.  The  glass  plate 
is  inserted  in  Stage  B  and  the  outline 
of  the  doorway  carefully  marked.  The 
plate  is  then  removed  for  later  use. 

After  draping  the  Frame  in  a  black 
cloth  and  using  the  model  set  as  the 
mask,  the  first  exposure  showing  the 
children  is  made.  A  further  fixed  length 
of  film  is  then  run  off  on  the  same  scene 
but  with  the  children  out  of  the  pic- 
ture. The  film  is  wound  back,  the  mod- 
el set  illuminated  and,  with  the  black 
cloth  behind  the  opening  on  which  the 
first  exposure  was  made,  animation  of 
the  seated  doll  is  carried  out  on  the  first 
part  of  the  film.  Further  animation  of 
the  seated  doll  is  then  carried  out  on 
the  second  part  of  the  film,  bearing  in 
mind  that  in  the  finished  picture,  the 
second  doll  will  have  appeared  in  the 
doorway.  This  second  part  of  film  is 
now  wound  back. 

By  making  use  of  the  markings  made 
on  the  glass  plate,  a  mask  is  cut  for 
insertion  in  Stage  B  having  an  opening 
corresponding  to  the  doorway.  The 
black  cloth  was  in  position  behind  this 
opening  in  both  the  first  and  second 
exposures  and  the  film  emulsion  is 
therefore  unaffected.  The  second  doll 
is  now  introduced,  appearing  in  the 
doorway,  to  join  in  the  farewells  by 
further  animation  throughout  the  sec- 
ond length  of  film.  Careful  cutting  be- 
tween the  two  lengths  will  enhance  the 
illusion. 

In  combining  real  life  with  models, 
perspective  must  be  watched.  Matters 
are  simplified  if  the  camera  is  kept  fair- 
ly level.  If  it  is  remembered  that  a  level 
line  through  the  camera  lens  passes  on 
to  the  horizon,  this  "eye-level"  can  be 
marked  on  the  glass  on  Stage  B.  It  will 
then  be  a  simple  matter  to  see  that  the 
horizon  line  coincides  in  the  two  expos- 
ures. Exaggerated  camera  angles  intro- 
duce complications  but  these  can  be 
dealt  with  as  experience  is  gained. 


HOME  MOVIES  FOR  JULY 


PACE  293 


mmg.  ^our 


movie 


•  Continued  from  Page  270 

er's  getting  the  breaks  here,  but  we're 
building  up  a  Httle  suspense  before  re- 
veahng  the  baby.  Now  we  cut  in  with 
a  closeup  of  the  baby — with  the  cam- 
era seeing  her  from  the  mother's  eyes. 
Next  cut  back  to  mother  as  she  Ufts 
baby  from  carriage  or  bassinet,  gives 
her  a  tender  hug  then  places  baby  on 
her  lap  facing  the  camera. 

Baby  fingers  and  toes  are  always  cute 
to  look  at.  Make  closeups  of  these  as 
mother  fondles  them.  Then,  if  you  like, 
cut  back  to  a  full  closeup  of  mother 
and  baby.  Thus  we  have  a  tight  little 
sequence  of  the  baby,  wherein  mother 
plays  a  supporting  role,  and  which  ade- 
quately serves  as  a  sequence  for  the 
moviebiography  of  the  child  which  will 
take  form  gradually  as  other  shots  are 
made  at  later  dates. 

Where  many  cine  filmers  fall  down 
in  their  technique  is  in  filming  purely 
scenic  material.  When  encounter.ng 
breath-taking  scenic  vistas  during 
travels,  there's  a  natural  urge  to  make  a 
shot  of  the  scene,  snapshot  fashion.  If 
a  dozen  or  more  such  shots  are  made 
consecutively  and  then  screened  in  the 
same  order,  they  will  not  be  as  impres- 
sive as  though  each  had  received  a  lit- 
tle buildup  with  complimentary  shots. 
A  series  of  single  shots  of  each  of  the 
geysers  in  Yellowstone  Park  is  inter- 
esting. They  could  prove  boresome.  But 
the  filmer  who  will  concentrate  on  two 
or  three  of  the  most  spectacular  geysers, 
depicting  each  in  a  group  of  shots  from 
various  angles,  will  bring  back  the  most 
interesting  picture.  How  much  more 
impressive  than  a  single  shot  of  Old 
Faithful  in  eruption,  would  be  a  se- 
quence of  shots  showing  first,  from  a 
long-shot  set  up,  the  locale  with  groups 
of  visitors  awaiting  for  the  scheduled 
eruption;  a  medium  closeup  of  some  of 
the  visitors  with  their  eyes,  and  their 
cameras,  too,  trained  on  the  geyser's 
cone;  then  another  shot  of  the  visitors 
registering  surprise  and  awe  as  the 
geyser  begins  to  erupt;  followed  with  a 
long  shot  of  the  geyser  in  full  eruption. 

The  importance  of  shooting  subjects 
m  a  sequence  of  long,  medium  and  close 
up  shots  should  not  be  underestimated. 
After  all  this  is  the  established  tech- 
nique of  the  professionals'  and  proven 
by  them  as  the  only  formula  that  gives 
screen  audiences  a  satisfactory  glimpse 
of  a  subject.  Because  of  the  compara- 
tively smaller  screen,  it  is  all  the  more 
important  that  most  of  home  movie 
filming  be  done  in  closeup  in  order  that 
the  objects  filmed  may  be  clearly 
shown.  In  making  movies  of  children 
particularly,  shots  should  be  made  in 


closeup  and  semicloseup  to  increase  in- 
terest. 

In  filming  straight  vacation  or  travel 
pictures,  that  is,  where  no  scenario  or 
shooting  schedule  has  been  planned  in 
advance,  a  "running  gag"  or  a  series 
of  tie-in  shots  should  be  introduced  that 
may  be  used  later  in  editing  the  picture 
to  tie  all  scenes  together  and  thereby 
provide  continuity.  One  "running  gag" 
seen  in  a  recent  vacation  picture  in- 
volved one  man  in  the  party  who  failed 
to  bring  along  a  bottle  opener.  All 
through  the  picture,  shots  are  cut  in 
showing  the  man  struggling  to  open  the 
bottle.  Toward  end  of  the  picture  a  girl 
in  the  party  goes  to  the  aid  of  the  un- 
successful bottle  opener,  flips  the  cap 
off  nonchalantly  and  walks  away  in  ap- 
parent disgust.  Another,  mentioned 
within  these  pages  numerous  times,  was 
the  gag  idea  used  on  a  vacation  picture 
involving  the  camping  trip  of  two  cou- 
ples. There  are  frequent  scenes  of  some 
luscious  food  being  prepared  over  camp 
fires.  Following  such  scenes,  a  shot  was 
cut  in  of  one  of  the  girls  quietly 
munching  on  a  hot  dog  which  contrast- 
ed in  a  humorous  way  with  the  more 
delectable  food  shown  in  the  preceding 
scene. 

These  ideas  are  as  simple  as  they 
sound  and  as  simple  to  film.  But  they 
add  tremendously  to  an  otherwise  un- 
planned collection  of  vacation  or  travel 
shots.  For  a  series  of  tie-in  shots  for  va- 
cation pictures,  we  can  always  recom- 
mend the  one  showing  the  gas  tank  be- 
ing filled  to  overflowing.  The  vacation 
scenes  are  preceded  by  a  planned  se- 
quence showing  the  vacationer  driving 
into  a  gas  station.  His  car  is  loaded  with 
luggage,  etc.,  and  the  dust  of  extensive 
travel  is  evident  on  the  car. 

The  vacationer  gets  out  of  his  car  and 
begins  to  tell  of  his  trip  to  the  station 
attendant  while  gas  is  being  pumped  in- 
to the  tank.  Spoken  subtitles  indicate 
this  and  immediately  following  are  shots 
of  the  particular  part  of  the  trip  de- 
scribed. There  are  frequent  flashbacks 
showing  the  two  men  talking  and  the 
hose  still  in  the  gas  tank.  Toward  the 
end,  the  two  men  are  shown  in  a  medium 
shot — the  station  attendant  listening  at- 
tentively as  the  vacationer  relates  his 
travels.  Then  follows  a  closeup  of  the 
gas  tank  and  hose,  with  gasoline  over- 
flowing, then  a  flashback  to  the  attend- 
ant as  he  discovers  the  wasting  gas. 

Any  movie  amateur  can,  with  a  little 
imagination,  devise  equally  clever  run- 
ning gags  or  tie-in  shots  for  his  pic- 
tures. They  can  be  filmed  more  effec- 


ISetv  Harrison  Diiraline 
MOVIE  FILTERS  and  KITS 


New  SCREW-IX  TYPE  MOUNTED  FILTERS  to  fit 
all  8mra.  cameras  having  WnHensak  1.9  and  3.5  lenses, 
including  Kcvstone,  Boll  &  Hmvell.  Perfex  and  Hevere, 
Single  filters  list  at  $2.30  each.  Kits,  containing  two 
filters — Kodachrnnie  H:izc  and  C-4  (for  use  with  type 
"A"  Kndachrome  in  daylight)— a  Snap-on  Shade  and 
Fllter-foUl  Case  as  abnve  list  at  $5.50. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Optical  Engineers 
8351  Santa  M'-nica  Bnirlevard        Hollyw>od.  California 


New  8mm. 

HOLLYWOOD 
FILM 

Going  Like  Wildfire 

Price   includes  guaranteed   machine  processing. 

AMBERTINT    $1.25 

A  practical  ever.v-day  film  for  outdoors.  Finegrain, 
senii-nrtho,   wide  latitude. 

OUTDOOR   $1.25 

Excellent    outdoor   film    with    enough    speed  for 
aim  1st  all  conditions.  Wide  latitud.-. 

California  Customers  Include  Sales  Tax 

HOLLYWOODLAND  STUDIOS 

SOUTH    GATE  CALIFORNIA 

AT  YOUR   FAVORITE   CAMERA  STORE 

PROTECT 

Your  Slides 

with 

New  Low- Priced 

SLIDE  FILES 

Holds  100  2"x2"slides  with  numbered  index  on  cover. 
In  Brown, and  Black,  SI. 85.  De  Luxe  .Vvolume  Library 
Series  (illustrated)  holds  300  slides.  Removable  index. 
Includes  a  carrying  case  with  swivel  hinge  front  cover, 
complete,  $9-00.  De  Luxe  Files,  $2.25  each.  Carrying 
Case  only,  $3.00  each.         Write  for  deKriptive  circular. 

WESTERN  MOVIE  SUPPLY  CO.  254  Sutter  St.,  San  Francisco 


Kodachrome 

MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
1197A   Merchandise   Mart,  Chicago 


Notice  to  Movie  Pons 

If  you  take  movies  (8mm  or  1 6mm)  you  simply  cannot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo  Bar- 
gain Book  now  being  distributed  throughout  the  U.  S. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading  manufacturers,  describes  them.  The  prices 
save  you  money  In  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
titlers,  editing  outfits,  tripods,  books  on  editing, 
titling,  etc.  This  Bargain  Book  is  invaluable  to  you  as 
an  equipment  REFERENCE  book.  Don't  wait  a  day 
longer  to   send   for  your  Free  copy.   Write  ub  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  G-9  Chicago,  Illinois 


PROTECT  FILMS 


VApjQ.RATE 

ASK  TOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO.,  INC.'  BELL  ft  HOWELL  CO 
130  W.  46th  St.  1801  Larchmont.  Chleaga 
New  York,  N.Y.  7lfi  Nn.  Labrea.  Hollywood 


AGAINST 
CLIMATE. 
SCRATCH- 
ES. STAINS. 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV. 
E  R  N  M  E  N  T 
AND  THE 
H  O  L  L  y  to 
WOOD  PRO? 
DUCERSDO' 


PACE  294 


HOME  MOVIES  FOR  JULY 


'J 


"n  


'  '.,v/' 


I 


IT'S  FASCINATING  .  .  . 

Thousands  of  movie  amateurs  are 
processing  their  own  movie  film, 
finding  it  as  much  fun  as  shooting. 
It  makes  for  economy,  too.  Find  out 
why.  Read  this  fascinating  book. 
Tells  you  how  to  process  8mm.  and 
1 6mm.  black  and  white  film.  Tells 
how  to  build  simple  processing  equip- 
ment. Gives  all  necessary  formulas. 
Well  worth  the  price  of  joc. 


SI 


NOW  TO  Tine 
HoniEmoviEi 


LABEL  IT! 

what's  a  movie  with  a  name — a 
TITLE?  How  will  your  audience 
understand  your  picture  without 
explanatory  titles?  Learn  how  easy 
it  is  to  make  your  own.  This  easy- 
to-understand  book  tells  everything 
you  want  to  know  about  this  fasci- 
nating branch  of  the  home  movie 
hobby.  Gives  tables  for  exposures, 
lens  diopters,  field  areas,  etc.  Mailed 
prepaid  for  only  $i.oo. 

On  Sale  At  Dealers  Or  Order  Direct  From 

HOME  MOVIES 

4060  SUNSET  BOULEVARD 
HOLLYWOOD  CALIFORNIA 


lively,  of  course,  if  they're  planned  in 
advance.  And  they  inject  continuity 
into  a  film  that  can  be  obtained  in  no 
other  way. 

To  summarize  our  seventh  lesson: 
the  important  thing  in  any  motion 
picture  is  continuity.  Continuity  makes 
movies  real.  Next,  but  not  least  import- 
ant, is  the  practice  of  building  for  se- 
quence and  altering  our  shots  from  long 
to  medium  or  close-ups.  All  this  must 
be  done  at  the  time  of  shooting  and 
therefore  requires  a  little  careful 
thought  and  planning  before  pressing 
the  camera  starting  button.  But  it  pays 
dividends  in  the  long  run  in  pictures 
with  more  lasting  interest. 


•  Continued  from  Page  267 

complete  change  in  demeanor  as  a  re- 
sult of  his  dream. 

Cutting  or  shortening  of  scenes  is 
suggested  in  the  action  showing  the 
wife  explaining  dinner  delay  to  hus- 
band, then  again  in  the  action  where 
husband,  while  watering  lawn,  inad- 
vertently turns  hose  on  next  door 
neghbor's  washing. 

This  filmer  did  a  nice  job  of  titling. 
Main  and  credit  titles  were  placed  on 
a  Venetian  blind  and  the  transition  from 
one  title  to  the  next  was  accomplished 
by  closing  then  opening  the  blind.  An- 
other titling  effect  which  made  the  ac- 
tion more  logical  was  the  super-impos- 
ing of  a  newspaper  headline  over  the 
scene  of  the  husband  asleep  in  the  chair. 

^^Trouble  Takes  Leave"  suffers  chief- 
ly from  lack  of  logic.  Running  200  feet 
in  8mm.  Kodachrome,  this  is  a  produc- 
tion of  H.  L.  Brand  of  Palo  Alto,  Calif. 
Apparently  this  filmer  intended  as  the 
plot  of  his  story  the  disposal  of  his  old 
car  and  the  acquisition  of  a  new  one. 
However,  continuity  is  somewhat 
vague.  Much  that  is  vital  to  the  story 
is  omitted. 

Comedy  gags  are  attempted,  such  as 
the  effort  of  the  man  to  repair  the 
stalled  car.  The  man  is  shown  taking 
countless  parts  from  under  the  hood. 
This  is  carried  too  far  in  uninteresting 
footage  to  be  effective.  Comedy  must 
be  spontaneous  and  a  better  way  to  get 
this  gag  across  would  be  to  show  the 
man  starting  to  dismantle  the  motor 
then  cut  to  a  shot  later  showing  the 
parts  piled  high  beside  the  car.  Its 
brevity  in  shots  like  this  that  determ- 
ines the  comedy  effect. 

Photography  was  consistently  good 
but  use  o  a  tripod  would  have  im- 
proved many  shots  considerably.  Even 
without  a  tripod  it  is  always  possible  to 
use  some  solid  support  for  the  camera 
which  is  essential  for  good  cine  pho- 
tography. 


Titles  were  made  and  developed  by 
the  filmer  and  suffer  somewhat  by  a 
composition  style  that  is  definitely  out- 
moded. Spoken  titles  were  written  thus: 
"Mary:  Where  are  you  going,  Ted?" 
It  is  not  necessary  to  indicate  in  a  title 
who  is  speaking.  The  preceding  action 
or  the  text  itself  should  denote  this. 

Further  study  of  continuity  through 
repeated  screenings  of  this  picture 
should  enable  filmer  to  re-edit  for  im- 
provement. 


0  Continued  from  I'a^e  262 

cident  —  providing  the  Navy  censors 
release  them  to  me." 

Age  is  no  barrier  in  the  hobby  of 
making  movies.  Reel  Fellow  Carl  A. 
Sederquist,  Maiden,  Mass.,  has  been 
shooting  movies  ever  since  his  50th 
birthday.  We  welcome  this  veteran  to 
our  ranks!  "Fiaving  read  much  of  your 
Reel  Fellows  organization,"  writes  Se- 
derquist, "I  now  send  my  membership 
application  and  one  dollar  to  cover 
membership  fee.  I  have  been  an  ama- 
teur movie  maker  for  the  past  13  years. 

1  am  63  years  old  and  still  going 
strong."  Which  is  amply  evident  from 
the  accompanying  photo. 

Among  the  first  to  be  accepted 
for  specialized  training  in  35mm.  cine- 
matography for  field  service  with  the 
Army  Signal  Corps,  is  Dudley  Porter, 
member  of  the  national  association  of 
Reel  Fellows  and  producer  of  "Fledg- 
lings," the  Movie  of  the  Month  for 
April  1 94 1. 

Porter  has  been  an  enthusiastic  8mm. 
filmer  for  many  years  and  has  several 
"feature-length"  amateur  productions 
to  his  credit.  At  the  time  of  enrolling 
for  the  Signal  Corps'  training,  he  had 
just  begun  a  new  picture  depicting  the 
everyday  life  of  the  average  man  rated 
3 -A  in  the  draft. 

Reel  Fellows  and  Home  Movies'  staff 
join  in  wishing  Dudley  Porter  success 
in  a  new  phase  of  a  field  that  has  always 
been  more  than  a  hobbv  to  him. 


HJork^kop  .  .  . 

9  Continued  from  Page  279 

rangement  is  set  up  between  rewinds 
and  in  path  of  the  film.  Film  is  thread- 
ed "under  and  over"  as  shown,  with 
felts  of  first  two  spools  moistened  with 
carbon  tetrachloride.  This  cleans  the 
film.  Remaining  dry  spools  absorb  the 
cleaner  and  at  the  same  time  removes 
dirt  and  oil  from  both  film  surfaces. 

— Robert  Djtis, 
Kansas  C  ity.  Mo. 


ORDER  FOR  SUBSCRIPTION 

Home  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,  $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Yean  for  $4.00  in  the  U.  S. 

>ME  MOVIES 
60  Sunset  Blvd. 
Ilywood,  Calif. 

Send  to  


Address.. 


aty.... 

]  New 


.State. 


□  Renewal 


□  Gift 


Send  to.. 


Address. 


City  

□  New 


  State. 

□  Renewal 


□  Gift 


.19. 


City  State  

NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


I 


I 

» 


HOME  MOVIES  FOR  JULY 


PAGE  295 


TITLE  troubled 


By  GEORGE   W.  CUSHMAN 


If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  fdm,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self-addressed  stamped 
envelope  if  you  wish  an  early  reply. 

O.  /  hai  c  folloiicil  your  recent  su}^ges//on  to  take  meter 
reading  of  sheet  of  neutral  gray  paper  to  obtain  proper  ex- 
posure for  Kodachroine  titles.  Houcier  white  backgrounds 
still  turn  out  over-exposed  while  dark  backgrounds  are  un- 
der-exposed.— L.  J.  H.,  Terre  Haute,  Ind. 

A.  The  suggested  "gray  paper"  procedure,  properly  fol- 
lowed, will  net  accurate  results  for  titles  on  colored  back- 
grounds. In  the  case  of  extremes — white  or  black  back- 
grounds— it  will  be  necessary  to  compensate  for  same,  al- 
lowing an  extra  stop  for  black  and  closing  down  one  stop 
for  white  backgrounds  or  title  cards. 

O.  At  ivhat  distance  from  camera  should  titles  appear- 
ing each  month  in  Home  Movies  be  filmed} — A.  E.  W., 
Salem,  Ore. 

A.  Home  Movies'  titles  are  designed  especially  for  type- 
writer titlers  focused  at  6" — i.  e.,  title  card  is  set  up  6" 
from  camera  lens.  Such  titlers  provide  a  field  area  z^'x 
I  ^'4  ".  Titles  are  1'/^" -aiY^" ,  thus  providing  ample  leeway 
should  camera  not  be  accurately  centered.  The  extra  mar- 
gin also  allows  these  titles  to  be  used  with  some  titlers  set 
to  photograph  at  a  distance  of  8".  However,  it  then  be- 
comes necessary  to  mount  title  on  another  card  to  pro- 
vide additional  area  required  as  the  8  "  distance  allows  for 
a  field  area  of  iy%"-s.zys," . 

O.  When  using  an  auxiliary  lens  for  shooting  titles  with 
a  camera  fitted  with  a  focusing  lens,  at  tvhat  distance 
should  camera  lens  be  set} — D.  W .  G.,  Topeka,  Kas. 

A.  Always  at  infinity,  if  it  is  desired  to  obtain  sharp 
fccus  at  the  distance  prescribed  for  the  particular  auxiliary 
lens.  For  example,  a  5  diopter  lens  will  focus  titles  sharply 
at  a  distance  of  8  inches — providing  camera  lens  is  set  at 
infinity. 

O.  My  titles  filmed  with  positiie  under  photof loads, 
are  always  lighter  on  one  side  than  the  other.  What  causes 
this} — B.  B.,  Littleton,  Colo. 

A.  Most  probably  uneven  illumination.  If  you  are  using 
two  photofloods,  one  may  be  brighter  (used  less)  than  the 
other,  or  one  may  be  located  closer  to  the  title  card  than 
the  other.  Try  placing  photofloods  equidistant  from  title 
card  and  make  sure  both  lamps  are  of  equal  age. 

O.  What  is  the  accepted  style  of  sub-titles;  should  they 
be  plain  or  lettered  over  ornamental  backgrounds}  I've 
heard  many  "pro's  and  con's"  on  this. — C.  H.  K.,  Louis- 
ville, Ky. 

A.  Sub-titles  should  be  as  simple  in  composition  as  pos- 
s.ble.  D;corations  only  serve  to  detract  the  eye,  consume 
tim.2  required  to  read  text.  Letters  neatly  arranged  on  one- 
color  backgrounds  are  most  acceptable.  Decorations  are 
o.  k.  for  main,  credit  and  end  titles. 


Home  in  0 1'  I G 

TITLES 


I- 


PAGE  296 


HOME  MOVIES  FOR  JULY 


CLASSIFIED 


iDVERTISIKi 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  A  hot  tif^Buy  from  Bass  for  Satis- 
faction. 

USED  CAMERAS 
16mm.  Stewart-Warner,    1'   F:l.5   Graf,    wifh  case. 
$29.50. 

16mm.  Cine  Kodak  Model  E.  F:3.5  lens.  $32.50. 
16mm.  B.  &  H.  70A,  F:3.5  Cooke.  $44.50. 
16mm.  Keystone    Model    A-3.    1'    F:l.5  Wollensak. 
$54.50. 

16mm.  B.  &  H.  Model  121.  Cooke  F:2.7  lens.  $57.50. 
16mm.  Simplex    Pockette    Magazine.    F:l.9  Kodak 

Anastigmat.  optical  finder,  $64.50. 
16mm.  B.   &    H.    Model    141    Magazine,   fitted  with 

Cooke  F:2.7  fixed  focus,  $87.50. 
16mm.  Cine  Magazine  Kodak,  F:l.9  lens,  with  case, 

$92.50. 

16mm.  Victor  3  Turret,  Cooke  F:3.5,  I"  F:l.5  Wollen- 

sak,  3"  Telephoto  and  case,  $124.50. 
16mm.  B.  &  H.  70DA.   1'  F:l.8  Cooke,  20mm.  F:3.5 

Cooke  and  3"  F:4  Wollensak,  Case,  $235.00. 
16mm.  Bolex,    like    new,    with    1"    F.I. 5  Wollensak, 

17mm.   F:2.7  Wollensak  focusing  mount,  3'  F:4.5 

Wollensak.  $275.00. 
Cine    Kodak    Special,    latest   model,    Kodak  F:l.9 

lens,  $445.00. 

8mm.  Bell  &  Howell  Companion  F:3.5  lens,  $42.50. 
8mm.  Cine    Magazine,    Model  90,    F:l.9   lens,  with 
case,  $92.50. 

8mm.  Zeiss    Movikon,    Zeiss    Sonnar    F:2    lens  and 

case.  $125.00. 
8mm.  B.  &  H.  Aristocrat,  with  focuser.  Cooke  F:2.5, 

r  Wollensak  F:l.5  focusing,  P/j  Britar  F:2.7  with 

finder  lenses,  case.  $207.50. 

RARE  CINE  LENSES 
25mm.    Schneider    Xenon    F:2,    focusing    C  mount, 

$52.50. 

r  Dallmeyer  F;0.99,  focusing  C  mount,  $85.00. 

r  F:l.8  Cooke  lens  in  C  mount.  $42.50. 

2'  Cooke  F:3.5,  C  mount,  $65.00. 

2"  B.  &  H.  Acurs  F:2.8,  C  mount,  $67.50. 

50mm.    Meyer    Makro    Plasmat    F:2.7.    focusing  C 

mount,  $63.50. 
3%'  Cooke  F:3.3.  C  mount,  $87.50. 

USED  PROJECTORS 
16mm.  DeVry    Model    G,    200    wait,    motor  drive, 

$17.50. 

16mm.  Kodascope    EE,    F:2.5   lens,   750  watt  bulb, 
$57.50. 

16mm.  B.  &  H.  57A,  400  watt  lamp  and  case,  $50.00. 
16mm.  B.    &    H.    Diplomat,    750   watt,    brand  new 

condition,  $192.50. 
In   stock:    New    Filmo    Masters    16mm.    and  8mm., 

Ampro  3's,  Revere,  Keystone  A-8  and  A-82. 
For  your  files:  Bass  Supplementary  Price  List  of  Cine 

Equipment — up  to  the  minute,  free  on  request. 
BASS  CAMERA   COMPANY,    Dept.    HC,    179  W. 

Madison  St.,  Chicago.  Illinois. 

•  BULK  Films:  8mm.  -  16mm.  -  35mm.  -  Join  our 
Yearly  Movie  Club.  Full  line  of  movie-still  camera 
films,  accessories,  supplies.  COLLIER  PHOTO 
SALES,  9508  Nelson.  Cleveland.  Ohio.  

•  STEWART-Warner  16mm.  camera  with  following 
accessories:  special  custom-built  2-lens  turret  with 
standard  lens  mounts;  magnifying  focusing  tube; 
Bell  &  Howell  tubular  viewfinder;  and  lateral  shift 
alignment  gauge.  No  lenses.  $25.00.  BOX  77,  Home 
Movies,  6060  Sunset  Blvd.,  Hollywood. 

•  TIME  payments!  New,  used,  still,  movie.  Trades 
accepted  MOGULL'S,  55  West  48th,  New  York. 

•  I6MM.  Ampro  arc  carbon  projector  and  rectifier. 
Any  size  lens.  In  perfect  condition.  Ideal  for  church 
and  school  auditorium.  Without  sound  head, 
$475.00.  REELIFE  MOTION  PICTURES,  900  South 
Madison  St.,  Green  Bay.  Wis. 


WANTED 


•  WANTED  used  8mm.- 16mm.  films,  cameras,  pro- 
jectors. Spot  cash  for  anything  photographic. 
We  sell,  trade.  BOBS.  154  East  47th  St.,  New  York 
City. 

•  WANTED  —  used  equipment.  Bargain  list  on 
request.  PETERS.  41-B  So.  4th  St.,  Allentown,  Penna. 

•  WANTED — sound  projector  in  good  condition. 
State  make  and  model  and  lowest  price.  FRANCES 
ALDRICH,  39  Hayes  St.,  Arlington,  Mass. 

•  16MM.  printer  with  sound  printing  aperture. 
Must  be  in  first  class  condition.  PAUL  LENDZON, 
8081   E.  Lantz,  Detroit,  Mich. 

•  EASTMAN  Cine  Special  with  case,  lenses  and 
etc.  New  or  nearly  new  only.  PAUL  BRADLEY,  3721 
N.  LaSalle  St.,   Indianapolis.  Indiana. 

•  PRIVATE  party  wants  good  used  16mm.  sound 
features  for  cash.  Write  details  and  price  to  BOX 
97,  Grandville,  Mich. 

•  WANTED — Used  Univex  and  Eastman  8mm.  cam- 
era spools  in  quantities.  Also  1600  foot  16mm. 
projection  reels.  FROMADER  GENERA  COMPANY, 
Davenport,  Iowa. 


Have  you  Some- 
thing to  sell? 


Turn  it  into  cash  with 
classified  ad! 


a    Home  Movies 


RATES:  Ten  cents  per  word;  minimum 
charge,  S2  cash  with  order.  Closing  date, 
lOth  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


FILM  RELEASES 


TITLING 


•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20",  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  all  titlers  which 
provide  for  interchange  of  lenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  lenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO..  3221  So. 
Figueroa  St.,  Los  Angeles.  Calif. 

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
plete sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus,  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  and  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
all  titling  needs.  MIHENS  LETTER  CO..  Redlands. 
Calif.  

•  FIVE  Defense  Stamps  brings  you  animated  hand- 
set Kodachrome  presentation  title  with  your  name. 
B  &  W.  three  stamps.  B  &  W  16mm.  frame  en- 
largements', three  stamps.  Sound  sprocket  inter- 
mittent projector  for  sale.  MOVIE  TITLE  SERVICE, 
Sheridan,  Indiana. 

DUPLICATING  SERVICE 

•  ESO-S  Monocolor  8mm.  dupes  of  your  favorite 
films,  2^4c  per  foot,  up.  ESO-S  PICTURES,  3945 
Central  St.,  Kansas  Cit/  Mo. 

PROCESSING  SERVICE 

•  MOTION  picture  processing.  100'  16mm.,  75c: 
50'  16mm.,  50c-  25'  8/8mm.,  35c:  IV  8mm.,  25c. 
RITTER  FILM  SERVICE.  629  Lyman  Ave.,  Oak 
Park,  III.  

•  ESO-S  is  licensed  by  Eastman  to  process  your 
double-8mm.  films.  45c.  ESO-S  PICTURES,  3945 
Central  St.,  Kansas  City.  Mo. 


i  0  0  fio"o"o"oo"o"o~o"o"6"o"o"(rrrr5Troa 


Help  your 
fellow  home 
movie  shooter 
o  have  fun! 


Dig  down  in  your  movie  closet  for  that 
extra  set  of  splicers  and  rewinds  that 
unused  camera,  that  spare  titler  or  pro- 
jector. 

They  may  be  just  the  thing  another 
hobbyist  needs.  There  are  two  ways  of 
turning  these  unused  pieces  into  film 
,  and  new  equipment.  Offer  them  for  sale 
>  or  trade  to  your  favorite  camera  store 
'  ...  or  advertise  them  in  Home  Movies 
»  Classified  Section.  Ten  cents  a  word, 
'    minimum  two  dollars. 

Lgj>-g-g-0-P-0-a-0-g.g-g-0-0-0-0-0.o.O-g.a.a.a 


•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE.  5  Little  BIdg.,  Boston.  Mass. 

•  8MM.-I6MM.  films  bought,  sold,  exchanged.  Si- 
lent-Sound odd  reels,  $1.50,  complete  subjects  $2.00 
up.  Catalog,  sample  film,  lOc.  INTERNATIONAL, 
2120  Strauss.  Brooklyn.  N.  Y. 

•  "TWENTY  Thousand  Leagues  Under  the  Sea"  in 
8mm  I  Jules  Verne's  masterpiece  direct  from  the 
35mm.  original  in  8  reels  at  $4.00  per  reel.  Two 
hours.  Also  many  other  outstanding  pictures  in 
3mm..  length  2  to  8  reels.  COPE  STUDIO,  3720 
So.  Figueroa.  Los  Angeles.  Calif. 

•  8MM.  Films!  All  major  producers.  New-used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL  FILMS. 
Dept.  HM-742,  2221  W.  67th  St.,  Cleveland.  Ohio. 

•  HIGHEST  quality  movies,  rental-sale-exchange. 
Ask  about  our  amazing  guarantee.  Free  catalogs. 
Write  today.  BAILEY  FILMS.  1651  Cosmo.  Holly- 
wood. 

•  MONEYMAKER!  "The  World's  Greatest  Passion 
Play."  16mm.  and  35mm,  Specify  sound  or  silent. 
Rent  or  purchase.  Superior  than  Oberammeragua 
play.  HEMENWAY  FILM  CO.,  33-A  Melrose  St.. 
Boston,  Mass. 

•  MONEY-saving  prices,  8mm. -16mm.  sound-silent. 
Any  makes.  Any  subjects.  Latest  releases.  Get  our 
prices  before  you  buy.  SIMMSFILMS.  Warwick. 
New  York. 

•  I6MM.  films  exchanged,  400  ft.  reel  silent,  $1.00; 
sound,  $2.00.  Latest  releases.  Free  40-page  catalogue. 
BETTER  FILMS,  742  New  Lots  Ave.,  Brooklyn,  N.  Y. 

•  CLEARANCE  sale  list.  16mm.  sound  now  ready. 
Films  bought,  sold,  exchanged.  Good  quality. 
MOGULL'S.   New  York.  

•  8MM.  Comedies,  Castles,  perfect  condition — to 
exchange  for  your  films,  (full  lengths).  New  Com- 
edies, Charles  Chases,  Jack  Duffys,  etc.  200  ft.  8mm. 
$3.50  each.  ABBE  FILMS,  1265  Broadway,  N.  Y.  C. 

•  8mm.-l6MM.  sound  and  silent  films,  projectors, 
and  cameras — bought,  sold  and  exchanged.  Trades 
or  terms  accepted.  Free  bargain  bulletin.  ZENITH 
308  West  44th,  New  York.  

•  YOURS  for  the  asking!  Mammoth  40- page 
film  rental  catalog — silent,  sound,  8mm.  and  16mm. 
Forward  your  name  aid  address  today.  NATIONAL 
CINEMA  SERVICE,  69  Dey  St.,  N.  Y.  C.  

•  FOR  Grownups  only — Hula  Dance  In  natural  col- 
or. 50  ft.  8mm..  $7.50.  100  ft.  16mm.,  $12.50.  Send 
stamp  for  details.  F.  CLARK,  711  N.  Western  Ave., 
Hollywood,  Calif. 

KODACHROME  FILM  RELEASES 

•  KODACHROME  TRAVEL  FILMS.  Latest  releases 
now  available  for  distribution,  in  8  and  16mm.  A 
postcard  will  bring  listings.  KENWOOD  FILMS. 
818  E.  47th  Street,  Chicago.  111.  

•  MOVIES  for  grownups.  (Not  Arts).  Many  in 
Kodachrome,  8mm..  16mm.  Lists,  handy  lens  cloth, 
dime.  JENKINS,  392.  Elmlra,  N.  Y. 

FILMS 

•  8MM.-I6MM.  Film,  including  processing,  da/- 
light  loading,  non-halation,  25  ft.  8/8mm.  Weston 
12,  85c:  Wes'on  24-16,  $1.25;  Weston  64-40.  $1.50. 
lOO  ft.  16mm.  Weston  12,  $1.85;  Weston  24-16,  $3.75; 
Weston  64-40,  $4.00.  RITTER  FILM  SERVICE.  629 
Lyman  Ave.,  Oak  Park,  III.  

•  ESO-S  saves  you  50  per  cent  on  spooled  film 
costs.  What  Is  HOLLYWOOD  SEPIA?  See  page  286. 


HOBBY  BOOKS 


•  SAVE  MONEY  In  wasted  film  and  increase  your 
enjoyment  of  home  movie  making  by  having  a 
complete  textbook  on  operation  of  the  movie  cam- 
era. Lack  of  knowledge  results  In  wasted  film  and 
loss  of  enjoyment.  If  you're  a  beginner  in  cinema- 
tography you'll  want  a  copy  of  "How  to  Use  a 
Movie  Camera."  Just  50c  and  well  worth  It. 

There's  fun  and  satisfaction  in  processing  your 
own  film,  besides  enabling  you  to  use  inexpensive 
bulk  film.  Full  of  instructions  and  advice  by  ex- 
perts, plus  complete,  easy-to-understand  plans  for 
building  your  own  processing  equipment.  "How 
to  Process  Movie  Film"  is  a  money  saver  at  50c. 
postpaid. 

The  basic  textbook  of  home  titling  it  another 
"must"  for  the  amateur's  library.  This  popular  vol- 
ume tells  all  about  title  exposure,  what  equipment 
to  use,  all  about  auxiliary  lenses,  and  how  to  make 
your  own  titler.  Send  $1.00  today  for  your  copy 
of  "How  to  Title  Home  Movies." 

VER  HALEN  PUBLICATIONS.  6060  Sunset  Blvd.. 
Hollywood,  Calif. 


Asain 


this 


year 


The  Lloyd  Bacon  Trophy 

is  the  top  award  in  Home  Movies'  1942  Annual  Amateur  Contest  open  to  every  movie  ama- 
teur in  America.  This  trophy  is  probably  the  greatest  reward  that  can  come  to  any  amateur 
movie  makers.  It  is  equivalent  to  the  famed  "Oscars"  awarded  Hollywood's  motion  picture 
stars  and  producers. 

SEVENTEEN  AWARDS  IN  ALL! 

In  addition  to  the  Lloyd  Bacon  Trophy,  three  trophies  are  offered  for  best  films  in  the  Scenario  Class;  three  for 
best  Family  Films;  three  for  best  Documentary  Films;  and  one  for  best  Forest  Fire  prevention  film.  Trophies  will 
also  be  awarded  for  outstanding  achievement  in  photography,  editing,  titling,  sound,  technical,  and  for  the  most 
progressive  amateur  cine  club  of  the  year. 

CONTEST   CLOSES  SEPTEMBER   30TH!    START    FILMING  NOW! 


CONTEST  RULES 


•  Entries  limif-ed  to  16min.  and  8mm.  films.  No. 
35mm.  reductions  eligible.  No  restriction  as  to  length 
or  subject.  You  may  submit  as  many  entries  as  you 
wish. 

•  Transportation  on  entries  must  be  paid  both  ways 
by  contestant.  Where  return  postage  is  omitted,  film 
will  be  returned  via  express,  collect.  All  entries  will 
be  promptly  returned  after  review  by  judges. 

•  Don't  wait  until  final  week  to  submit  your  films. 
Send  them  in  as  soon  as  ready.  They  will  be  reviewed, 
judged,  and  graded  and  a  full  report  of  same  filed  for 
consideration  at  time  of  final  judgment.  Films  should 
be  available  for  a  second  review  by  judges  at  close 
of  contest  if  necessary. 


•  All  entries  should  be  titled  at  least  to  the  extent  of 
a  main  title.  Adequately  titled  films  improve  their 
standing  in  the  contest.  Professional  or  laboratory 
produced  titles  are  permissible. 

•  Be  sure  to  label  your  film  reels  and  containers, 
giving  your  name  and  address  and  the  title  of  your 
production. 

•  No  entry  blanks  are  necessary.  Enclose  data  with 
entry  as  to  camera,  lens,  and  film  used;  also,  state 
whether  filters,  tripod,  exposure  meter,  and  any  other 
equipment  was  used.  This  information  has  no  bearing 
on  the  judging,  but  is  of  interest  to  the  editors. 


HOME  MOVIES 


HOLLYWOOD 


M   A  C  A   Z    1    N  E 


FO  R 


H  E 


AMATEUR 


L^-'-'  ■  "■    

MAIN  STREET,  U.S.A. 


Marching  MEN . . .  rolling  tanks  and  gun  carriers  — 
America  on  the  eve  of  its  greatest  military  effort. 

No  mere  spectacle  this  Independence  Day. 

Most  subjects  of  military  significance  are  taboo; 
but  the  welcome  sign  is  up  for  parade  pictures.  See 
that  your  movie  camera  is  with  you,  and  that  it  is 
loaded  with  Cine-Kodak  Film — the  film  that  makes 
the  movie,  sure  as  shootin'. 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


'''jUSSl^^t^  YEARLY  SUBSCRIPTION,  $2.50 

liiui'iii  mm 


rrice  :^dc 

YEARLY  SUBSCRIPTION,  $2.50 


C.  £.  Bc/i. 


August  .1942 

LARGEST  CIRCULATION  OF  ANY  AMATEUR  MOVIE  MAGAZINE! 


Now . . .  BOSKd  Cartoon? 


i  n  1  6  m  m .  and  8mm. 


/ 


/ 


/ 


SOMETIMES  mischievous,  sometimes  the  hero  of  fantasy,  ofttimes  the  victim  of  his  own 
pranks,  little  colored  Bosko,  is  one  of  the  most  delightful  characters  ever  to  emerge  from 
the  cartoon  field  of  entertainment.  Whether  his  escapades  t»ke  h/m  into  a  haunted  house  or  a 
hen  house,  the  result  is  always  one  of  great  sympathetic  humor.  With  his  pal  dog,  Bruno,  he  is 
typical  of  the  little  waif  who  constantly  gets  himself  all  mixed  up  with  nature  and  with  fears 
of  thvse  tfiings  he  never  qurte  understands.  You'll  love  Bosko,  especially  in  all  of  his  Utest 
releases  Ijsted  be)o^ 

Bosko  and  Bruno  go  to  the  circus  where  ^^[^/'''B^o 'Vnd  Bruno  seek  tke 

^"taster  basket,    Bru«o  is  temporarily  forced 


gets  tangled  in  a  toy  balloon  and  !(  ca 
into  the  top  of  the  tent.  Oimax  is  the 
lease  of  the  circus  fleas,  which  stampe^C.'tJ 
■  f  animals  and  wceck  th^  cir^its. 

'^^.  ■^  m 

BOSKO'S  PHOTO  FINrSH 


^'  V.-lp  take  the  hens'  place  and  set  on  the  eggs. 
^-  ^"*_When  Mis.  Hen  returns  ifiere's  hellzapoppin 
^Jh  the  Jl>arnyard 


Simon-Legree  is  about  to  foreclose  the  cnort- 
gage  when  Bosko  gets  out  Black  Beauty  t^/^. 
win  the  big  race  and 

removes  the  spring  from  the  horse's  powef^ 
^»it^  bu^^osML  '; 

t  I    <y  . 

OSKO'/  BAD  WOLF 
BOSKO'S  BEAR  ESCAPE. 
POSKO'S  SPOOKS 
BOSKO'S  BAD  DRE. 
BOSKO'S  CANNIBAL  CAPERS 


100  Ft. 
50  Ft. 


1808-A 


B«sko  rubs  his  magic  lantern  and  is  carried 
way  on  a  magic  carpet  into  trouble  in  a  Sul- 
's  palace.  Finally,  he  remembers  the  lan- 
ern,  rubs  it,  and  is  returned  to  find  it  was 
very  bad  dream. 


NOW  REAL, 

Fifteen  full  length  sound  Bosko 
one-reel  features  in  black  and 
white  or  Kodachrome. 


Black  and  White 
Kodachrome   .  . 


$17.50 
67.50 


HOLLYWOOD  FILM  ENTERPRISES,  INC 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIF. 


DVISORY  EDITORS 

A.  K.  BAUMGARDNER 

Peoria  Cinema  Club 

ER  BEZEK 

Chicago  Cinema  Club 

ES  8IALSON 

reur  Motion  Pic+ufe  Club  of  SK  Louis 

MOSS  BROWN 

Dallas  Cinema  Club 

'^.R  BRACKEN 

»  8-16  Movie  Club,  Philadelphia,  Pa. 

ERSON  CLYMA 

De+roi*  Society  ol  Cinemafographers 

SSELL  A.  DIXON 

Pi+fsburgh  Arr-  :         "  rcma  Club 

DVORAK 

Suburban  Amateur  Movie  Club 

;THUR  E.  GIBBS 

Portlan-d  Cine  Club 

•Y  A.  HOOK 

Seattle  8mm  Club 

FRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

E  NESTELL 

Cinemen  Club 

kRCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

LBERT  B.  PETERSON 

Metropolitan  Cine  Club 

THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mrr,  Movie  Club 

PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 

ED  E.  SNYDER 

Des  Moines  Y.M.C. A.  Movie  Club 

F.  SISSEL 

Austin  Movie  Club 

IRTIS  O.  TALBOT 

Meffo  Movie  Club  of  Chicago 


red  ds  Second-Class  Ma»er,  May  4,  1938,  at 
PosfoHice  at  Los  Ar>geles,  Calif.,  under 'the 
Act  of  March  J,  (879. 

cription  rates:  U.  S,  $2.50  per  year.  Canada 
Foreign   Countries,   S3.S0   per   year.  Single 
ei  25c.  Canadian  ft  Foreign  single  copies  35c. 
Advertising  rates  on  application. 


.  nome  

MOYIES 


l!^n,Z'"''  ''^'''><!  Buy  Bonds  a,.d 


Ktg.  U.  S.  Pat.  Off. 


Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.  No  part  of  magazine 
may    be    reprinted    without    specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  AUGUST,  1942 

THE    READER    SPEAKS...    302 

INFORMATION    PLEASE     304 

ITS  NEW  TO  ME   306 

REVIEWS  OF  AMATEUR   FILMS  By  J.   H.   Schocn   307 

SCREEN  'em  with  SOUND — By  Goilficy  Elliott   309 

NEW  DEVELOPMENTS  IN  SOUND-QN-FILM  By  I'VcdcriC  Lllt/jCr   3IO 

SUPER  CLOSEUPS  WITH  EXTENSION  TUBES 

— By  W.  Emerson  Clyiiia  3  1 1 

HOW  TO  FILM   trick   SHOTS    3  12 

MRS.  SEELY  FILMS  A  HUMMER  By  f.  II.  Sc/jOCn   315 

VARY  YOUR  VIEWPOINTS  AND  CAMERA  ANGLES 

— By  Eredric  Graescr  314 
AN  EASY-TO-FiLM  SCENARIO — By  Wallace  Sfahl   315 

SINGLE-FRAME  RELEASE  FOR  KEYSTONE  CAMERA 

— By  John  Kit tcralh  316 

WHAT  THE  BEGINNER  SHOULD  KNOW  ABOUT  EDITING 

— By  Stanley  E.  Andrews  317 

EXPERIMENTAL    CINE    WORKSHOP      318 

IF  YOU  WANT  A  FILM  TO  SHOW   320 

FILTER     FACTORS   324 

FILM    RATING    CHART        330 

TITLE  TROUBLES — By  Gcor^^e  W.  Ctishman   335 

FiOME  MOVIE  TITLES — By  RdiiiKnd  Turner   335 


CHAS.  I.  Ver  HALEN 

PUBLISHER 


C.  ).  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


AUGUST 


NUMBER  8 
VOLUME    I  X 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
J.  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S      MAGAZINE      FOR      THE      MOVIE  AMATEUR 


PACE  30Z 


HOMf  MOV  I  IS  pot  Aucurr 


THE 
INQUIRING 
PHOTOGRAPHER 


The  Reader 


Queflion  : 


Why  have  You  Switched  to 
KIN-O-LUX  Movie  Filnis? 


Because  I  get  the  same  fine 
quality  results  as  I  used  to 
with  another  film  costing 
much  more. 


I  like  the  way  you  "get"  a 
picture  with  its  speed  and 
remarkable  latitude. 


/r^'^^^X    When  I  saw  the  projection 
/—  n    quality  of  my  first  roll  of 
KIN-b-LUX  I  knew  I'd 
found  just  the  film  I  was 
looking  for. 


The  price  suits  me  —  and  my 
photography  budget. 


When  I  saw  so  many  ex- 
perienced and  accomplished 
cinematographers  using 
KIN-O-LUX  I  said  "Who 
am  I  to  buck  the  trend.'" 


KIN-O-LUX 


Weston  8;  Schelner 
$3.20-100  ft. 

Oufdoor 

Weston  12;  Scheiner 
$3.75-100  ft. 

Indoor  •  Oufdoor 


20° 


Weston  50;  Tung.  40 
Scheiner  26  ;  Tung.  74 
$6.00-100  ft. 

3.  GOLD  SEAL  fndoof  Ofl/y 

Weston  100;  Scheiner  29° 
(No  Outdoor  Ratings) 
$6.40-100  ft. 


KIN-O  lUX    •    105  W.  40  ST.    •    NEW  YORK 


Faked  Shot 

Interesting  the  ingenuity  displayed 
by  some  amateurs  in  getting  a  needed 
shot;  and  think  of  the  extra  fun  they 
have! 

Dear  Sirs:  I  was  interested  by  Fred 
A.  Hager's  letter  in  the  Reader  Speaks 
department  of  the  April  issue  wherein 
he  told  of  hanging  out  on  the  running- 
board  of  his  car  to  get  a  shot  of  the  car 
wheels  turning  to  splice  in  with  his 
vacation  pictures. 

You  may  remember  seeing  similar 
shots  in  my  various  travel  films  which 
have  been  sent  you  for  review.  How- 
ever, I  filmed  these  shots  by  a  much 
safer  method  right  in  my  own  garage. 
I  jacked  up  one  of  the  rear  wheels  so  the 
tire  would  just  clear  the  floor.  Then  I 
set  up  my  camera  and  focused  on  the 
wheel  so  bottom  of  tire  just  barely 
showed.  To  provide  the  effect  of  a  veiy 
dusty  road,  I  employed  our  Electrolux 
vacuum  cleaner  and  a  few  handfuls  of 
flour. 

I  had  my  son  start  the  car  motor  and 
thus  spin  the  jacked-up  wheel  equiva- 
lent to  about  45  miles  per  hour,  and 
with  my  daughter  standing  on  the  rear 
bumper  rocking  the  car  and  my  wife 
sifting  flour  in  front  of  nozzle  of  va- 
cuum cleaner  which  was  adjusted  to 
exhaust  air,  I  made  the  shot  in  about 
1 5  seconds.  The  shot  was  such  a  suc- 
cess it  has  become  a  "stock"  scene  for 
other  movies  made  since,  having  been 
duplicated  in  extra  footage  by  printing 
in  my  camera. 

— R.  C.  Denny, 
Fresno,  Calif. 

Wants  Plans 

Here's  opportunity  for  some  cineme- 
chanic  to  do  a  brother  cinebug  a  favor: 
Dear  Sirs:  I  am  interested  in  building 
a  flexible-shaft-driven  turntable  for  my 
Stewart -Warner  i6mnri.  projector  and 
would  appreciate  it  if  any  Home  Mov- 
ies reader  could  give  me  construction 
details.  Will  reciprocate  with  footage 
from  beautiful  Banff  and  Lake  Louise. 

— W.  G.  Stunden, 
404  Public  Bid  a., 
Calgary,  Albta.,  Canada. 

Lucky 

Dear  Editor:  You  possibly  have  read 
of  the  fairy  that  waved  the  magic  wand 
and  thus  produced  miracles.  Well,  here's 
one  for  the  books,  too.  Sometime  ago, 
I  was  helpful  in  securing  a  contract  for 
one  of  my  friends  that  netted  several 


thousand  dollars.  Sometime  later,  this 
friend  visited  my  home  and  asked  what 
his  company  owed  me  for  my  efforts  in 
their  behalf. 

Of  course,  what  I  did  was  just  a 
friendly  courtesy  and  I  expected  noth- 
ing. However,  as  we  talked  my  friend 
asked  what  would  be  the  first  thing  I 
would  buy  if  I  became  suddenly  rich. 
I  told  him  it  would  be  a  Bolex  camera 
and  a  Brown  Micromatic  titler.  We 
spent  the  rest  of  the  evening  playing 
cards  and  chatting  about  the  war,  etc., 
thinking  no  further  about  my  wishes. 

Two  weeks  later,  the  expressman  de- 
livered a  box  at  my  house  containing 
a  brand  new  Bolex  camera  and  Brown 
titler — a  gift  from  my  friend's  em- 
ployer. 

Subsequently  I  bought  a  set  of  Mit- 
tens title  letters  but  have  been  unable 
to  bring  my  titles  into  sharp  focus  with 
the  f/  1.9  lens.  Please  tell  me  where  the 
trouble  lies. 

—Chas.  T.  Voller,, 
Jacksonville,  Fla. 

(Of  course,  ue  wrote  reader  Y oilers 
and  advised  an  auxiliary  lens  must  be 
used  for  closeup  filming  with  all  cine 
lenses;  suggested  he  refer  to  the  tables 
on  pages  76  and  77  of  "How  to  Title 
Home  Movies"  for  data  as  to  proper 
auxiliary  lens  to  use. — Ed.) 

Swap  Opportunities 

The  following  letters  tell  of  film 
wanted  or  footage  to  swap.  They  are 
printed  without  obligation.  If  you  have 
film  to  swap  or  need  a  scene  or  two  of 
some  distant  locale,  let  your  wants  be 
known  here: 

Dear  Sirs:  I  am  in  need  of  8mm. 
black  and  white  scenes  of  hospital  ac- 
tivities and  would  like  to  obtain  a  com- 
plete hospital  picture  or  one  showing 
general  interior  hospital  atmosphere  and 
procedure. 

— A.  DeCaprto, 
Brooklyn.  N.  Y. 

Gentlemen:  From  my  recent  film  pro- 
duction "Luray  Caverns  and  Shenandoah 
National  Park,"  I  have  about  600"  of 
1 6mm.  Kodachrome  scenes  which  was 
not  used  in  the  production.  About  400 
feet  consists  of  scenes  in  Shenandoah 
National  Park  filmed  along  famed  Sky- 
line Drive  and  the  balance  is  interior 
views  of  Luray  Caverns  of  Virginia. 

I  will  exchange  this  film  as  a  whole 

•  Continued  on  Page  }}4 


NEW  70RK  CHICAGO  SAN  FKANLISUU 


PACE  302 


MAGAZINE 


Subscription 
Order  Form 


HOME  MOVIES  FOR  AUGUST 


PACE  303 


OWN   FIRST  8mm.  16mm.  MOVIES! 


iuinLE»MiDwinr!  ] 


Immortal  page  in  U.  S.  history!  A  telling  blow  to  Hiro- 
hito's  fleet!  See  Army  flying  fortresses  take  off. . .  Navy 
fighters  rise  from  carriers  to  attack  the  enemy!  See  Jap 
bombers  attack  our  ships  . . .  and  be  repelled!  See  Jap 
ships  smashed  and  burning!  The  mighty  movie  that 
every  projector  owner  should  possess!  Own  it  now! 


m  tS^  r.\ 


BATTU^CORALSEA! 


On-the-spot  pictures  of  this  historic  battle!  Filmed  un- 
der fire  as  Jap  bombers  and  torpedo  planes  attack!  Ride 
on  the  U.S.S.  Lexington  as  she  steams  into  the  conflict! 
See  her  planes  fly  out  to  make  history!  Then— the  great 
ship  stricken  when  her  mission  has  been  completed! 
ACTUAL  VIEWS  OF  THE  BURNING,  EXPLODING  LEXINGTON ! 

CHECK  BELOW  for  Castle  Films' 

New  Free  Catalogue 


- —  ORDER  FORM 


RUSS  BLDG. 
SAN  FRANCISCO 


Send  Castle  Films'  "Midway  and  Coral  Sea  Bat- 
tles" (both  in  one  film)  in  the  size  and  length 
checked. 


Name  

Address. 
City  


  State  HM-8 

COPR.   1942.   CASTLE   FILMS.  INC. 


50  ft.,  8  mm  .  .  . 
180  ft.,  8  mm  .  .  . 
100  ft.,  16  mm  .  . 
360  ft.,  16  mm  .  . 
350  ft.,  16  mm  sound 

Remittance  enclosed  Q  ship  C.  0.  D.  □ 
Send  Castle  Films'  new  1942  Catalogue  □ 


$1.75  □ 
$5.50  □ 
$2.75  □ 
$8.75  □ 
$17.50  □ 


PACE  304 


HOME  MOVIES  FOR  AUGUST 


EASIER 

TO  ADJUST 
IN  HEIGHT 


information  nun 


CHALLENGER 


Reg.  U.  S.  Pat.  Off. 


SCREEN 


TPoei  NOT  ^kan^a  ihe 

When  you  adjust  the  Da-Lite 
Challenger  Screen  to  the  desired 
viewing  position,  you  do  not  need 
to  make  additional  adjustments  of 
the  case  or  fabric  to  keep  the  pic- 
ture area  the  right  size.  Raising  the 
Challenger  does  not  pull  the  fabric 
further  from  the  case  and  thus 
necessitate  moving  the  case  up  sep- 
arately. Da-Lite's  exclusive  pat- 
ented inner-locking  device  raises 
or  lowers  the  case  and  the  fully 
opened  screen  in  one  operation. 

•  NO  SEPARATE  ADJUSTMENTS  OF  CASE 

•  NO  THUMBSCREWS  TO  TIGHTEN 

Ask  your  dealer  for  the  Da-Lite 
Challenger  Screen,  Write  for  lit- 
erature! Da-Lite  Screen  Co.,  Inc. 
Dept.  «BM,  2723  No.  Crawford 
Avenue,  Chicago,  Illinois. 


Flaw  In  the  Lens  (James  Mackamer, 
Houston,  Tex.) 

Q.  /  have  a   Imm.  cam- 

era and  the  pictures  I  take  with  it  seem 
to  be  out  of  focus  on  the  left  side.  I 
have  taken  the  camera  personally  to  the 
factory  for  inspection  and  while  the 
technical  department  admits  that  some- 
thing is  wrong,  still  they  insist — after 
examining  my  camera — that  both  cam- 
era and  lens  are  in  perfect  condition. 
I've  made  tests,  too,  projecting  my  film 
with  several  makes  of  8mm.  projectors 
and  in  each  instance  the  film  projects 
with  the  left  side  of  the  picture  out  of 
focus.  What  do  you  think  causes  this 
trouble} 

A.  The  only  test  you  apparently  have 
not  made  is  to  try  filming  with  another 
lens  in  your  camera.  Go  to  your  dealer 
or  to  the  factory  and  ask  them  to  fit 
another  lens  to  your  camera — loan  it  to 
you  just  long  enough  to  shoot  another 
roll  of  film.  If  the  resultant  roll  is  also 
out  of  focus,  then  you  may  be  quite 
sure  there  is  something  wrong  mechan- 
ically with  your  camera — probably  in 
the  channel  of  the  film  gate  which  does 
not  allow  the  film  to  lie  flat  against 
the  aperture.  If  the  film  comes  up  sharp- 
ly focused,  you'll  know  the  fault  lies 
with  your  present  camera  lens. 

Safety  Guaranteed  (Harry  Milliard, 
Pueblo,  Colo.) 

Q.  /  would  like  to  submit  for  review 
a  film  I  made  recently  but  I'm  a  little ' 
timid  about  risking  it  in  the  mails.  You 
see,  I  wouldn't  want  to  lose  it  or  have 
it  become  damaged  in  any  way.  What 
is  the  best  method  for  shipment? 

A.  If  you'll  mark  your  reel  and  con- 
tainer plainly  with  your  name  and  ad- 
dress, then  ship  it  to  us  via  insured  Par- 
cel Post  or  Railway  Express,  it  will  ar- 
rive safely.  All  films  sent  the  editors  for 
review  are  returned  by  Railway  Express 
and  are  adequately  insured.  To  date,  no 
films  sent  in  for  review  have  ever  gone 
astray  during  transit. 

Dolly  Shot  (Barry  Horton,  Dallas, 
Tex.) 

Q.  In  shooting  a  dolly  or  trucking 
shot — that  is,  moving  in  closer  to  sub- 
ject with  camera  while  shooting — isn't 
it  also  necessary  to  gradually  change  fo- 
cus of  lens  at  the  same  time? 

A.  This  would  depend  upon  the  aper- 
ture at  which  you  were  shooting.  If  you 
were  using  a  small  lens  stop,  depth  of 
focus  would  be  extreme,  at  least  suffi- 
cient to  keep  subject  in  sharp  focus 


•  Readers:  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  hoard  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


throughout  the  average  dolly  shot.  Un- 
der adverse  light  conditions  or  indoors 
with  insufficient  artificial  light  necessi- 
tating shooting  at  f/3.5  or  less,  it  might 
be  necessary  to  adjust  focus  of  lens  as 
you  approach  subject  with  camera  in 
the  dolly  action. 

Frame  Size  (Alfred  Tucker,  Hillside, 
N.  J.) 

Q.  //  an  Smm.  and  a  i6mm  camera 
were  set  up  side  by  side  at  a  given  dis- 
tance from  a  scene  or  object,  would  they 
both  register  the  same  proportion  of 
the  scene? 

A.  Yes,  assuming  the  i6mm.  camera 
is  fitted  with  a  i  inch  lens  and  the  8mm. 
camera  with  the  usual  Yz  inch  lens. 

Haze  Filters  (O.  J.  Seifert,  M.  D., 
New  Ulm,  Minn.) 

Q.  /  own  a  16mm.  Eastman  camera. 
In  making  sunset  shots,  kindly  advise 
if  a  haze  filter  should  be  used  and  also 
what  lens  opening.  Also,  if  haze  filter 
should  be  used  in  close-ups  or  just  long 
shots. 

A.  Purpose  of  haze  filter  is  to  en- 
able lens  to  penetrate  haze  in  distant 
scenes  and  thus  obtain  definition  in  dis- 
tant objects  such  as  mountains,  etc. 
There  would  be  no  advantage  in  using 
it  for  sunset  shots.  Nor  is  there  any 
benefit  obtained  in  using  a  haze  filter  in 
medium  or  close-up  shots. 

Best  sunset  shots  are  obtained  with 
lens  stopped  down  to  enhance  silhou- 
ette effect  of  cloud  formations. 

Blue  Photofloods  (M.  H.  Roberts, 
Portland,)  Ore. 

Q.  What  is  the  Weston  rating  for 
regular  Kodachrome  when  used  with 
G.  E.  daylight  blue  Photofloods?  I  have 
four  rolls  of  8  mm.  regular  Kodachrome 
on  which  expiration  dates  are  drawing 
near.  In  order  to  use  up  this  film  before 
expiration,  I'm  obliged  to  film  indoors. 
The  use  of  daylight  blue  Photofloods 
seems  to  be  the  only  solution.  However, 
I  have  failed  to  find  anything  but  opin- 
ions on  the  correct  meter  reading  to 
use.  If  the  color  temperature  of  the  blue 

•  Continued  on  Page  }  29 


33  l/ecM 


OFF-DUTY 
HOUR^ 

Aaain  and  A( 


CAMERA 


REVERE    "99"  CAMERA 

permits  quick-change  from  regular 
lens  to  telephoto  and  vice  versa. 
It  has  a  turret  head  and  an  extra 
optical  view  finder  for  use  with 
telephoto  lenses.  Complete  with 
one  Wollensak  F  2.5  lens,  $77.50- 


This  summer,  when  short  hoUdays  from 
war  work  are  the  rule,  make  every  hour 
off-duty  bring  extra  pleasure!  Take  movies 
with  a  Revere!  You'll  have  a  grand  time 
taking  the  pictures — and  an  even  bigger 
thrill  later  when  you  see  the  action  scenes 
of  your  family  and  friends  projected  on 
your  home  screen. 

The  Revere  has  a  fine  lens  to  record  the 
image  in  sharp  detail  and  an  exchtsiie  re- 
ciprocating sprocket  film  control  to  assure  steady  pictures  (no  tugging  on 
the  film  gate).  A  visible  footage  counter,  precisioii-biiilt  mechaiiisin  with 
powerful  motor  and  positive  speed  governor  control,  a  choice  of  5  speeds, 
including  slow  motion — and  many  other  advanced  features  make  the 
Revere  today's  ontstanditig  8  in  in.  cine  equipment.  Ask  your  dealer  for  a 
demonstration  of  this  camera  and  the  famous  Revere  8mm.  Projector! 
Write  for  literature.  Revere  Camera  Co.,  Dept.  8HM,  320  East  21st 
Street,  Chicago,  Illinois. 


REVERE  MODEL  88  CAMERA 

uses  eCcnomical  8mm.  film,  color  or  black- 
and-white.  Easy  to  load  and  to  operate. 
Eastman- 1  icensed  spool  and  spindles. 
5  speeds,  (8,  12,  16,  24  and  32  frames  per 
second)  for  normal  action,  ultra  fast  or  slow 
motion  movies.  Built-in  optical  view  finder 
with  large  eye  piece.  Visible  footage  counter. 
Exclusive  reciprocating  sprocket  film  control. 
With  fast  Wollensak  F  3.5  lens,  $38.50. 


REVERE    8MM.  PROJECTOR 

Its  time-proved  500-watt  optical  system, 
with  F  1 .6  lens,  shows  8mm.  movies  at  their 
brightest.  Model  80  (shown  here!  complete 
with  lamp,  lens  and  one  300-foot  reel, 
$75.00.  Model  85,  same  as  "80"  plus  beam 
threading  light,  micro-tilt,  light  diffuser, 
and  de  luxe  carrying  case,  $89.50. 


Revere  Model  80  Projector 


yj|pij^wiJiimpiii"w...iiiii^^ 


^B^^  „...„  ^  ...,.„.,.,,.....,.■■ 


PAGE  306 


HOME  MOVIES  FOR  AUGUST 


WILLO  NO.  88  SPOTLIGHT 

Regular  $1.75 
Clamp   modol  for  use  with   No.  1 
photoflood  lamp. 

$1.40 


REELS  AND  CANS 

8MM.,  200  FEET 

52c 

(or  the  combination 
16MM.,    400  FEET 

69c 

for  the  combination 


WILLO 
TRIMMING  BOARDS 

A  well  constructed  trimmer,  with  a 
keen  sharp  blade — built  for  lasting 
use. 

8  in   $2.40 

10  in   $2.80 

12  in   $3.60 

Mail  Orders  Filled 


110  West  32nd  Street,  N.  Y. 

World's   Largest   Camera  Store 
Built  on  Square  Dealing 

Established  i«9« 


to  me 


By  CiNEBUG  Shopper 


Frame  Enlargements 

A  new  service  to  8mm.  and  i6mm. 
movie  amateurs  is  available  through  the 
Superior  Bulk  Movie  Film  Co.,  i88 
West  Randolph  St.,  Chicago.  It  con- 
sists of  enlarging  frames  of  8mm.  or 
i6mxTi.  black  and  white  or  Kodachrome 
film  to  album-size  prints.  "Enlargo- 
Prints^"  as  they  are  called,  are  z"x2y/' 
for  8mm.  frames  and  zY/'xyY/'  for 
i6mm. 

All  that  is  required  to  order  Enlargo- 
Prints  is  to  send  a  section  of  film  at 
least  6"  in  length  with  the  frame  de- 
sired to  be  enlarged  properly  marked 
on  margin  of  film.  Enlargo-Prints  are 
offered  at  $i.oo  for  8  pictures  (2  prints 
each  of  4  different  frames)  or  2  single 
prints  from  any  one  frame  for  30c. 

Processing  Service 

ESO-S  Pictures,  3945  Central  St., 
Kansas  City,  Mo.,  announce  that  they 
have  been  licensed  by  Eastman  Kodak 
Co.,  to  process  all  types  of  double  8mm. 
cine  films  including  their  own  versatile 
line  of  seven  emulsions. 

Another  recent  announcement  by 
ESO-S  is  the  addition  of  a  new  film — 
the  seventh — to  their  group  of  rever- 
sible 8  mm.  films  and  trade-marked 
ESO-C.  This  is  a  new  monocolor  emul- 
sion in  a  warm  sepia  tone  for  all  dou- 
ble 8mm.  cine  cameras.  Price  of  $1.30 
per  spool  includes  processing,  slitting 
and  return  on  projection  spool. 

Chemical  Fade 

Fromader-Genera  Co.,  Davenport, 
Iowa,  have  placed  on  the  market  a  new 
prepared  dye  trade-marked  Genera 
Fadeout  for  making  chemical  fades  in 
8mm.  and  i6mm.  films  after  exposure. 
Solution  is  prepared  from  the  dye, 
placed  in  a  bottle  or  other  tall  contain- 
er and  the  film  immersed  slowly  then 
withdrawn.  Fade  results  from  impreg- 
nation of  dye  in  emulsion  of  film.  Price 
of  Genera  Fadeout  is  $1.00  per  bottle. 

Filter  Data 

Chess-United  Co.,  Inc.,  Emmet  Bldg., 
New  York  City,  announce  distribution 
of  a  new  brochure  entitled  "A  New  Era 
In  Filter  Photography"  which  contains 
not  only  information  on  how  to  use 
Omag  and  other  filters,  but  the  latest 
exposure  factors  for  Agfa,  Defender, 
DuPont  and  Eastman  films. 

Brochure  is  available  free  by  writing 
directly  to  Chess  United  Company. 


Modernize 

A  complete  modernization  service  is 
now  available  to  owners  of  Filmo 
"eights"  through  Bell  &  Howell's  fac- 
tory at  Chicago  which  enables  Filmo 
owners  to  acquire  special  camera  fea- 
tures ordinarily  available  on  new  models 
but  curtailed  because  of  war  produc- 
tion. 

Among  the  features  which  can  be 
built  into  most  Filmo  "eights"  at  the 
Bell  &  Howell  factory  are  windbacks, 
frame  counters,  critical  focuser,  mod- 
ern exposure  guide,  and  alteration  of 
filming  speeds. 

For  further  information  write  Bell 
&  Howell,  Chicago,  111.,  or  their  near- 
est branch  office. 

Filming  Ideas 

Unprecedented  demand  has  made  a 
second  printing  necessary  on  the  two 
new  booklets  recently  offered  by  Ver 
Halen  Publications  —  "50  Ideas  for 
Filming  Children"  and  "50  Ideas  for 
Vacation  Films."  Each  booklet  sells  for 
25c  and  is  crammed  full  of  plot  and 
running  gag  ideas  that  will  furnish  in- 
centive for  filming  the  baby  or  one's 
vacation  trip  this  summer. 

Booklets  are  available  from  dealers  or 
direct  from  the  publisher,  6060  Sunset 
Blvd.,  Hollywood. 

Auricon  Licensed 

The  E.  M.  Berndt  Corporation  of 
Hollywood  announces  the  signing  of  a 
license  agreement  for  the  manufacture 
of  Auricon  i6mm.  "Talking  Picture" 
cameras  and  recording  equipment  un- 
der patents  and  inventions  of  Radio 
Corporation  of  America,  General  Elec- 
tric and  Westinghouse. 

This  patent  license  agreement  is  said 
to  cover  all  equipment  bearing  the 
trade  name  "Auricon"  even  though 
purchased  before  the  new  agreement 
was  drawn  up. 


TO  OUR  READERS 
We  will  appreciate  calling  our  at- 
tention to  any  misleading  claim 
made  by  any  advertiser  in  HOME 
MOVIES  whose  product  or  service 
proves  unsatisfactory. 

Should  an  article  prove  other  than 
advertised,  or  if  a  service  is  not 
prompt,  immediate  notification  will 
enable  us  to  enforce  upon  the  ad- 
vertiser necessity  of  adjusting  his 
product  or  service  to  the  maximum 
high  standard  of  quality  required  by 
this  publication  of  its  advertisers. 


HOME  MOVIES  FOR  AUGUST 


PAGE  307 


REflEWS... 


o/  cAmateur  ^ilm^ 


B  y 


S       C        H        0        E  N 


Most  of  us  master  one  thing  at  a 
time.  As  we  learn  one  lesson,  we  pro- 
gressively move  to  the  next.  In  due  time, 
we  know  how  to  photograph,  edit  and 
title  our  movies  and  do  it  well.  This  is 
the  object  of  Home  Movies'  film  re- 
viewing service  which  endeavors  to 
guide  the  amateur  step  by  step  toward 
the  goal  of  good  picture  making.  It  is 
really  an  individual  service  as  compared 
to  the  publication  of  reviews  here. 

Every  reader  of  Home  Movies, 
whether  a  subscriber  or  not,  is  invited 
to  submit  his  films  for  review  and  con- 
structive criticism  without  obligation. 
Films  that  present  problems  which  the 
editors  feel  are  of  general  interest  to  all 
readers  will  be  analyzed  in  this  depart- 
ment. Each  film  will  be  graded  one, 
two  or  three  stars  and  returned  with  an 
animated  leader  indicative  of  the  edi- 
tors' evaluation. 

Rating  a  }-Star  leader  this  month  is 
"Rubbering  4100  Miles,"  an  8mm.  Ko- 
dachrome  picture  iioo  feet  in  length 
by  Alex  W.  Morgan,  Toledo,  Ohio.  Mor- 
gan is  a  good  photographer,  having  a 
Movie  of  the  Month  already  to  his  cred- 
it: his  8mm.  Kodachrome  picture  "Dedi- 
cation" reviewed  in  the  August  1941 
issue.  His  latest  picture  is  a  record  of  a 
vacation  trip  to  Florida  in  which  his 
genius  at  editing  and  titling  is  clearly 
evident. 

Highlights  are  the  zoom  and  flop- 
over  effects  in  the  titles  and  the  animat- 
ed map  which  opens  the  film  and  traces 
the  route  of  travel  which,  incidentally 
was  by  automobile  and  hence  the  title. 
The  film  is  narrated  in  titles  spoken  by 
a  little  toy  teddy  bear,  a  sort  of  mascot 
which  is  shown  dangling  from  the  mir- 
ror above  the  windshield  in  the  opening 
scenes.  Later,  the  little  bear  is  to  be 
seen  in  other  locales  as  he  is  cut-in  in 
closeup  preceding  a  title. 

Tie-in  shots  that  maintained  the 
thought  of  travel  consisted  of  closeups 
of  a  revolving  automobile  wheel.  Close- 
ups  of  road  signs  were  frequently  used 
to  indicate  a  location,  city  or  town. 
Subject  matter  of  scenes  was  interesting 
sights  encountered  in  the  trip  to  Florida 
and  return. 

This  film  could  be  improved  for  gen- 
eral audience  screening  by  eliminating 
some  of  the  inserts  of  the  teddy  bear. 
The  repetition  proves  a  little  tiresome 


•  All  amateurs,  whether  subscribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  istars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 


and  his  appearance  before  every  title  is 
not  essential,  as  the  opening  sequence 
indicates  the  little  toy  as  the  narrator. 

Also,  cut-backs  to  the  revolving 
wheel  and  tire  are  altogether  too  fre- 
quent, especially  in  a  picture  of  this 
length.  And  by  deleting  some  of  the 
road  signs,  especially  those  which  pre- 
cede titles,  along  with  the  deletions  sug- 
gested above,  this  film  can  be  material- 
ly shortened  to  advantage. 

Good  composition,  consistent  "on- 
the-nose"  exposure,  and  some  nice  sun- 
set shots  marked  the  photography  as 
exceptional. 

^^Dreams"  was  classified  as  a  2-Star 
picture  and  is  commendable  for  the  am- 
bitious effort  of  its  producer  at  trick 
photography.  It  was  filmed  by  Bob 
Mayne,  Muskegon,  Mich.,  and  runs  75 
feet  in  8mm.  black  and  white. 

The  picture  begins  by  showing  a 
mother  reading  a  fairy  tale  to  her  daugh- 
ter at  bed  time.  The  child  smuggles  the 
story  book  to  her  bedroom.  After  moth- 
er bids  her  good  night,  she  snaps  on  the 
light  and  continues  to  read.  She  soon 
falls  asleep,  however,  and  dreams  of  the 
Teeny  Weeny  Tots,  the  subject  of  the 
fairy  tale. 

The  sequences  that  follow  are  accom- 
plished in  double  exposure  trick  pho- 
tography in  which  the  child  is  shown 
playing  with  a  group  of  tiny  playmates, 
smaller  than  elves.  Effect  was  achieved 
by  first  filming  the  child  normally,  but 
with  part  of  scene  area  masked  off,  then 
backwinding  the  film,  masking  off  the 
area  previously  exposed,  and  by  setting 
•  Continued  on  Page  329 


s  Thrills  of 


1942 


Ufficial  Films  brings  you  the 
epic  battles  that  mean  the 
turning  point  of  the  war  .  .  . 
blistering  examples  of  cour- 
age and  daring. ..cram-packed 
with  adventure  and  the  spirit 
of  Victory! 

BATTLE  OF  MIDWAY 

Plus  All  This  In 
ONE    HOME  MOVIE 

if  British  Capture  Madagascar 

if  Allied  Convoys  Foil  Axis  Attacks 

if  "Flying  Tigers"  in  Far  East 

*  R.  A.  F.  Bombs  Paris 

if  MacArthur  Takes  Supreme  Com- 
mand in  Australia 

if  MacArthur  in  the  Philippines 

^  Stillwell  and  Chiang  Kai-shek  in 
Burma 

See  The  Heroes  Oi  The 
Hour  in  Youx  Own  Home 


DOOLITTLE 
Order  From  Your  Dealer  .  .  .  Today! 

8mm.  SHORT    $1.75  I  16mm.    SHORT  $2.75 

8mm.  FEATURE  5.50  |  14mm.    FEATURE  8.75 
14mm.  SOUND  $17.50 


WRITE  FOR  LITERATURE 


425^Fourlh  Ave.,  New  York,  N.  Y. 


PACE  308 


HOME  MOVIES  FOR  AUGUST 


Bis  News  For  Movie  Amateurs! 


Two  Booklets 
full  of  Filming  Ideas! 


New  from  cover  to  cover — they're  packed  with 
practical  filming  plots  that  are  easy  to  shoot  and 
certain  to  make  your  movies  more  entertaining.  If 
your  problem  is  lack  of  filming  ideas  these  two 
booklets  will  supply  what  you  need! 


Anyone  can  make  movies  of  kiddies,  but  how  many  start 
filming  with  any  idea  of  interesting  continuity?  Here's  a  new 
book  filled  with  filming  ideas  for  children's  movies,  pub- 
lished at  the  request  of  thousands  of  HOME  MOVIES'  readers 
who  recognize  a  need  for  such  helpful  service.  Don't  shoot 
another  foot  of  film  until  you've  read  this  book — gotten  an 
idea  that'll  make  your  children's  movies  the  talk  of  the 
town!  Its  complete,  too,  with  several  art  main  titles. 
Only  25c,  postpaid. 


*****  ^Uzi 


If  you're  plotting  a  movie  of  this 
year's  vacation,  or  want  to  height- 
en interest  in  last  year's  vacation 
film  with  a  good  running  gag, 
this  booklet  offers  50  fresh  profes- 
sionally conceived  filming  ideas 
that  any  amateur  can  use.  Replete 
with  interesting  and  humorous  con- 
tinuity plots,  ideas  for  running 
gags,  plus  several  timely  art  Vaca- 
tion titles.  Its  a  lot  of  value  for 
only  25c. 


Order  NOW! 

...use    this  coupon 

HOME  MOVIES 

iOtO  Sunset  Blvd.,  Hollywood,  Calif. 
Gentlemen: 

Enclosed  please  find  $   for  which  please  send 

p«stpoid  _  _  copies  of  "50  Ideas  for  acatlon  Films" 

and   copies  of  "50  Ideas  for  Filming  Children." 


Name.... 
Address. 
City  


State. 


8-42 


HOME  M\m 

Published  in  Hollywood 
AUfiUST  1942  /  ' 


^-  I-  Sa„J, 


WITH  SOMD . . . 


Post  recorded  sound  now 
available     at     moderate  cost 


'ECAUSE  of  the  great  improve- 
ment that  has  been  made  within  the  last 
few  years  in  i6mm.  recording  equip- 
ment and  technique,  a  great  many  home 
movie  fans  are  just  beginning  to  realize 
how  easily  and  at  what  relatively  small 
cost  a  sound  track  can  be  added  to  their 
prized  reel  of  i6mm.  film. 

Chief  among  movie  amateurs  inter- 
ested in  the  lowered  costs  of  post  re- 
corded sound  are  those  who  have  suc- 
cessfully produced  Civilian  Defense 
films  and  who  now  wish  to  add  sound 
in  the  form  of  spoken  commentary  and 
musical  background.  Among  the  most 
recent  amateur  produced  Civilian  De- 
fense films  to  which  sound  has  been 
added  are  "Fire  From  the  Skies"  by  the 
Long  Beach  Cinema  Club  and  "Air 
Raid"  by  the  Linden  (New  Jersey) 
Cinema  Club. 

In  a  recent  article  entitled  "Sound 
•Tracks  for  School  Movies"  (Home 
Movies,  September  1941)  this  writer 
reported  the  results  of  a  survey  of 
post  recording  prices  in  effect  in  the 
1 6mm.  field  at  that  time.  It  was  re- 
ported then,  and  can  be  restated  now, 
that  prices  for  recording  one  i6mm. 
reel  of  music  and/or  commentary  from 
script  to  combined  sound  reversal  dupe 


range  from  $75.00  to  an  approximate 
average  of  $140.00,  and  up  as  high  as 
one  wishes  to  go. 

Excellent  results  are  being  obtained 
with  1 6mm.  recording  by  the  labora- 
tories charging  from  $75.00  to  $125.00 
per  reel.  The  writer  has  used  recording 
done  at  $75.00  per  reel,  and  can  report 
that  it  is  of  very  acceptable  quality. 
When  one  learns  that  this  price  in- 
cludes narrator's  fee  and  finished  sound 
print  in  the  form  of  a  reversal  dupe, 
the  work  becomes  all  the  more  amazing. 

Suppose  you  have  a  cherished  reel  of 
family  shots,  a  well-edited  reel  describ- 
ing the  tour  you  took  last  summer,  a 
documentary  reel  you  have  shot  for  one 
ot  your  local  business  houses  or  a  film 
on  Civilian  Defense.  Here's  your  oppor- 
tunity to  make  a  truly  professional  job 
out  of  your  finished  product.  Imagine 
being  able  to  dispense  with  the  clutter 
of  disc  recordings  you  have  been  using 
with  the  film.  For  as  little  as  $75.00  you 
can  have  the  mood  music  or  interpreta- 
tive commentary  added,  then  sit  back 
and  let  the  sound  projector  take  over 
the  remainder  of  the  work  for  you. 

Let's  not  forget  that  we're  talking 
here  of  indirect  or  off-stage  recording; 
recording  of  dialogue  in  synchroniza- 


tion with  your  screen  characters  re- 
quires a  sound  crew  at  the  time  the 
scene  is  photographed.  Through  the 
laboratory  to  which  you  might  send 
your  film  and  sound  script  for  record- 
ing, you  have  the  opportunity  to  add 
music  background,  narration,  special 
sound  effects,  or  a  combination  of  any 
of  these. 

Remembering  that  sound  film  pro- 
jects at  24  frames  speed,  inspect  your 
reel  at  this  speed  to  be  certain  that  16- 
frame  action  is  not  speeded  up  too 
greatly.  Of  course,  if  it  is  known  be- 
forehand that  sound  is  to  be  added  you 
will  shoot  the  film  at  24  frames.  Then 
begins  the  job  of  composing  the  sound 
script  and  cue  sheet. 

You  can't  just  mail  your  film  to  the 
laboratory  with  a  few  vague  directions 
outlining  what  you  want  added.  First, 
you  will  have  to  assemble  your  projec- 
tor, the  film,  a  stop  watch,  and  picture 
script.  Run  the  film  through  projector 
at  24  frames,  time  each  separate  scene 
with  the  stop  watch,  and  write  down 
the  length  of  each  scene  in  seconds. 

Now  you're  ready  to  translate  scene 
lengths  into  the  number  of  words  of 
commentary  that  each  scene  will  hold. 
There  is  no  absolute  standard  here,  but 
most  studios  allow  144  words  per  min- 
ute for  a  narrator  speaking  at  normal 
tempo.  At  this  rate,  you  can  figure  an 
approximate  allowance  of  24  words  per 
ten  seconds.  The  rate  does  not  hold  ab- 
solute because  one  film  will  call  for  a 
•  Continued  on  Page  }}0 


309 


STYLUS 
MOVEMENT 


OPAQUE 
LAYER 
EMULSION 


FILM  BA6E 


HOME  MOVIES  FOR  AUGUST 


•  Perfected  in  Holland  just  prior  to 
Nazi  invasion  was  the  Philimil  system 
by  which  a  variable  area  sound  track  is 
produced  on  film  by  mechanical  in- 
stead of  photographic  means.  Wedge- 
shaped  stylus,  actuated  by  eiectric 
impulses  from  microphone  circuit, 
moves  up  and  down  vertically  "scrap- 
ing" opaque  emulsion  from  film  to 
produce  sound  track. 


lEW  DEl'ELOPMESTS 
l«  SfllliDOI-FILlI... 


'RSCURED  by  widespread  in- 
terest in  the  production  of  sound  on 
film  by  photographic  means,  some  very 
interesting  v/ork  has  been  done  recently 
on  sound  film  records  produced  by  me- 
chanical means.  Two  of  these  are  out- 
standing because  of  the  simplicity  of 
recording  and  the  inexpensive  equip-- 
ment  required  and  particularly  because 
they  point  a  way  to  simple,  low-cost 
sound-on-film  production  for  amateur 
movies  of  the  future. 

One  method,   called   by   the  trade- 


name "Philimil"  after  the  names  "Phil- 
ips" and  "Miller"  which  were  connected 
with  its  development,  was  announced 
by  one  of  Holland's  largest  electrical 
manufacturers  just  before  the  Nazi  in- 
\  asion  of  that  country.  The  Philimil 
process  was  described  as  being  eminent- 
ly suited  for  use  in  broadcasting  stu- 
dios' transcription  work,  since  the  rec- 
ord is  ready  for  immediate  playback, 
nnd  does  not  require  photographic  pro- 
cessing as  would  the  better-known  type 
of  film   record.   Also,   editing  of  the 


sound  track  is  possible,  and  there  is  no 
abrasive  action  of  a  playback  needle 
such  as  is  encountered  in  disc  reproduc- 
tion. Briefly,  the  Philimil  recording 
process  is  this: 

A  special  film  is  used,  its  base  being 
either  the  cellulose  nitrate  product  used 
in  Hollywood,  or  the  slow-burning 
"safety"  cellulose  acetate  base  familiar 
to  all  home  movie  makers.  Coated  on 
the  base  is  a  layer  of  gelatin,  which,  in 
turn,  supports  an  extremely  thin  layer 
of  black  opaque;  it  is  vitally  important 
to  the  quality  of  the  reproduced  sound 
that  the  thickness  of  this  gelatin-opaque 
sandwich  be  held  within  very  close  lim- 
its of  the  set  standard. 

Recording  is  accomplished  by  a 
wedge-shaped  cutting  stylus,  which 
looks  much  like  a  miniature  snow  plow. 
This  stylus  is  held  against  the  topmost 
surface  of  the  opaque  layer  of  the  film 
as  it  moves  past  the  stylus  position; 
stylus  pressure  is  regulated  by  a  micro- 
meter screw  on  the  support  arm.  When 
the  film  is  driven  past  the  stylus  at  a 
constant  speed,  the  stylus,  actuated  by 
the  movements  of  the  diaphragm  of  the 
recording  microphone,  enters  the  opaque 
layer  of  the  moving  film  at  a  direction 
perpendicular  to  the  direction  of  film 
travel;  in  this  manner,  the  fluctuations 
•  Continued  on  Page  }22 


•  Below  are  two  separate  outfits,  sim- 
ilar in  principle,  for  the  non-photo- 
graphic production  of  sound  on  film, 
one  an  amateur  development,  the 
other  professional.  At  left  is  apparatus 
designed  by  Dr.  George  Pasto,  Port- 
land, Ore.,  and  adjacent,  the  Film- 
graph.  Both  utilize  principle  of 
inscribing  sound  track  on  film  by 
means  of  needle,  similar  to  one  system 
described  above  by  Frederic  Luther. 


HOME  MOVIES  FOR  AUGUST 


SUPER  CLOSEUPS 
WITH  EXTEISION 


By  W.  EMERSON  CLYMA 

Jf  you  have  made  movies  of  just  about  every- 
thing you  can  think  of — the  children,  their  mother,  the 
family  dog,  and  your  Victory  garden — I  suggest  you  now 
try  cinemicography,  a  big  word  which  means  simply  the 
filming  of  ultra-closeups  with  the  aid  of  extension  tubes 
between  lens  and  camera.  Its  feasible  with  either  8mm.  or 
1 6mm.  cameras  and  the  only  additional  accessories  re- 
quired are  a  set  of  extension  tubes  and  a  means  for  focus- 
ing the  image  sharply  on  the  film  plane. 

Extension  tubes  are  the  means  of  opening  up  a  fasci- 
nating new  field  of  filming  in  wh'ch  you  can  make  the 
most  absorbing  movies  of  such  common  subjects  as  bees, 
bugs,  beeths,  spiders,  house  flies,  etc. 

While  the  regular  i-inch  i6mm.  cam?ra  lens  and  Yi- 
inch  8mm.  camera  lens  can  be  used  with  extension  tubes, 
best  results  are  obtained  when  a  tdephoto  lens  is  used. 
The  field  area  with  i-inch  (and  ^^"inch  8mm)  lenses 
used  with  extension  tubes  is  usually  too  small  for  practi- 
cal amateur  use. 

A  few  years  ago,  I  succumbed  to  the  des  re  to  astound 
my  family  and  friends  with  super-ultra-closeup  movies 
of  a  grasshopper's  face.  I  set  out  to  have  a  set  of  extension 
tubes  made  for  my  i6nTm.  camera.  A  toolmaker  friend 
volunteered  to  turn  the  tubes  on  his  lathe  if  I  would  sup- 
ply the  dimensions.  In  this  instance,  I  dec-'dcd  upon  exten- 
sion tubes  y^-\n.,  ^4-in.  and  i  Yz-'in.  in  length  and  these 
?re  fhown  in  the  second  photo  on  this  pa!^°.  Brass  tubing 
was  used  and  after  each  section  was  accurately  cut  to  size, 
it  was  threaded  externally  on  one  end  to  fit  lens  seat  of 
cam°ra  internally  on  the  other  to  take  camera  lens. 

I've  since  discovered  these  tubes  are  a  little  too  heavy 
and  would  have  been  better  made  of  aluminum,  dural, 
or  of  one  of  the  several  plastic  substances.  Unfortunately, 

•  Coitliinied  011  Page  j  ;2 

•  Fig.  1  shows  author  with  camera  jquippet' 
with  extension  tubes  filming  a  mouse.  Fig.  2 
shows  extension  tubes  made  especially  for  his 
camera.  All  may  be  joined  together  to  form 
ons  tube.  Fig.  3  is  ord'nary  1 6mm.  frame  en- 
largement of  back  of  a  watch  with  cover 
removed.  Fig.  4  is  a  shot  of  same  watch  made 
w'th  cxtenT-ion  tube  coupled  with  lens.  Note 
extreme  magnification  obtained. 


311 


PAGE  312 


HOME  MOVIES  FOR  AUGUST 


HOW      ////n  simple  trick  ^kot^ 


A 


SURPRISING  number  of  professional  trick 
shots  can  be  filmed  with  a  home  movie  camera. 
Such  tricks  do  not  always  require  extra  accessories 
but  rather  a  skill  in  handling  the  camera  to  achieve 
the  trick  result.  Pictured  and  described  below  are 


four  simple  tricks  that  may  be  filmed  with  either 
8  mm.  or  i6mm.  cameras.  Such  tricks  may  be  used 
to  enliven  family  or  vacation  films  or  may  be  writ- 
ten into  home  movie  scenarios  for  added  dramatic 
or  comedy  effect. 


Knife  Throwing  illusion  is  produced  by  filming  with 
camera  upside  down.  The  action  is  filmed  in  reverse  and 
when  screened  appears  normal.  Subject  is  posed  against 
fence  and  several  knives  to  which  long  stout  threads  are 
attached  are  stuck  lightly  into  the  fence.  As  camera  is 
started  (in  upside  down  position)  knives  are  pulled  out 
by  threads,  one  by  one.  Make  separate  shots  normally  of 
knife  thrower  to  cut  in  with  closeups  of  knives  leaving 
fence.  When  film  is  processed,  cut  out  knife  shots,  turn 
end  for  end,  and  splice  into  film. 


Rodeo  Shots  of  bucking  horses  are  easy  enough  to  make; 
but  how  about  closeups  of  the  buckaroo  in  action?  Here's 
a  simple  trick  that  will  net  these  shots.  Place  rider  on  a 
teeter  totter  and  rig  up  a  set  of  reigns.  Place  yourself  with 
camera  on  opposite  end  and  have  husky  friend  move  plank 
up  and  down  in  short,  jerky  movements.  A  saw  horse,  bar- 
ell,  or  fence  and  a  long  sturdy  plank  will  provide  the  tee- 
ter totter.  An  added  note  of  realism  can  be  injected  by 
placing  a  saddle  under  your  rider  and  focusing  camera  to 
include  some  of  the  saddle. 


Tight  Rope  walking  can  be  faked  successfully  due  to  cine 
camera's  inability  to  capture  third  dimension,  and  thus  a 
thrilling  touch  may  be  added  to  scenario  movies  with  a 
shot  of  this  kind.  Long  sturdy  plank  is  laid  across  narrow 
chasm.  A  length  of  stout  rope  is  nailed  to  edge  of  plank 
facing  camera  and  this  should  be  same  width  as  plank. 
Camera  is  then  set  up  directly  in  front  of  board  and  with 
lens  on  same  plane  as  board.  Actor  then  walks  across  board, 
simulating  the  careful  steps  of  a  tightrope  walker.  The 
plank  will  sway  and  bend  under  actor's  weight,  just  as 
tight-rope  would. 


RESULTANT  COMPOSITE  SCENE 


Split  Screen  shots  enable  you  to  cast  one  actor  in  a  dual 
or  "twin"  role.  To  make  a  split  screen  shot,  it  is  necessary 
to  mask  off  one  half  of  lens  as  shown  in  sketch,  film  one 
half  the  scene,  then  reverse  the  mask  to  cover  opposite 
half  of  lens;  back  wind  the  film  to  starting  point,  and  ex- 
pose the  opposite  area  of  the  frame.  The  same  actor  plays 
both  parts,  merely  changing  costume  as  required.  Masks 
require  a  matte  box  to  hold  them  accurately  in  place  be- 
fore the  camera,  and  mattes  should  be  placed  well  ahead 
of  lens  to  obtain  sharp  dividing  line.  (See  Page  147, 
April  1942  issue) . 


HOME  MOVIES  FOR  AUGUST 


•  The  "blind"  or  hideout  which  Mrs. 
Warner  Seely  erected  on  the  grounds 
of  her  Cleveland,  Ohio,  home  in  order 
to  film  the  nesting  habits  of  a  hum- 
mingbird. That's  Mrs.  Seely  behind 
the  camera  getting  a  bead  on  Madame 
Hummer.  Below  are  frame  enlarge- 
ments from  her  Movie  of  the  Month, 
"Madame  Hummer  At  Home." 


When  I  consulted  with  the 
manager  of  our  local  camera  store  about 
the  difficulties  I  first  encountered  in 
filming  hummingbirds,"  relates  Mrs. 
Warner  Seely,  He  said:  "  'But  you  are 
attempting  a  serious  scientific  picture 
with  only  amateur  equipment!'  " 

Actually  all  Mrs.  Seely  lacked  was  a 
telephoto  lens.  This  she  borrowed  from 
the  obliging  dealer,  then  continued  with 
her  amateur  equipment  to  produce  "Ma- 
dame Hummer  At  Home,"  one  of  the 
outstanding  i6mm.  Kodachrome  mov- 
ies on  hummingbird  life.  Awarded  the 
Movie  of  the  Month  certificate  by 
Home  Movies,  it  is  the  second  film 
produced  by  Mrs.  Seely  to  achieve  this 
honor.  Her  Kodachrome  picture 
"Through  the  Window  Pane,"  a  doc- 
umentary of  nesting  robins,  was  the 
Movie  of  the  Month  for  September 
1941.. 

"Madame  Hummer  At  Home"  runs 
800  feet  and  is  augmented  with  a  fine 
selection  of  recordings  for  the  musical 
score.  A  definite  continuity  style  of 
presentation  is  evident  from  the  very 
beginning  when  the  picture  opens  with 
two  girls  reading  a  book  on  the  subject 
of  birds.  They  go  out  into  the  garden 
to  study  the  hummingbird  and  the  in- 
teresting scenes  of  Madame  Hummer 
begin.  This  preamble  to  the  record  of  a 
nesting  hummingbird  is  well  handled 
and  is  just  brief  enough  to  send  the  pic- 


M^r^,  Seel^  fllm^ 

aMMU 


ture  nicely  on  its  way.  There  are  occa- 
sional cutbacks  to  the  girls  in  the  gar- 
den as  the  picture  unfolds,  and  the  clos- 
ing scene  shows  them  returning  to  the 
house  from  the  garden. 

Madame  Hummer  is  introduced  in  a 
close-up  shot  showing  her  sipping  from 
a  small  bottle  of  artificial  nectar  which 
Mrs.  Seely  conveniently  tied  to  a  branch 
of  a  tree.  Other  scenes  follow  showing 
Madame  Hummer  gathering  nectar 
from  colorful  flowers  and  presently  we 
are  shown  her  diminuitive  nest  and  its 
two  pea-size  eggs. 


Nesting  shots  follow  and  eventually 
the  young  birds  are  born.  Highlight- 
ing the  picture  are  the  many  vivid  close- 
ups  of  mamma  Hummer  feeding  the 
two  hungry  fledglings,  carefully  thrust- 
ing her  long  rapied-like  beak  into  their 
gaping  throats  to  deposit  pre-digested 
food  as  is  the  bird  custom. 

In  due  time  the  fledglings  reach  ma- 
turity, spend  a  day  trying  their  wings 
before  venturing  from  the  nest,  then 
embark  upon  their  individual  careers, 
never  to  return.  A  novel  ending  is  the 
•  Conthincd  on  Pii,^e  326 


PAGE  314 


HOME  MOVIES  FOR  AUGUST 


Var^  y.our  viewpoints 

dUim  mm 


a/ti 


B  y 


[OVIE  amateurs  sometime 
overlook  the  obvious  ease  with  which 
varied  viewpoints  and  camera  angles 
can  be  introduced  to  inject  a  dramatic 
punch  in  their  pictures.  The  movie  cam- 
era is  essentially  an  instrument  of  dra- 
ma and  as  such  should  be  employed  to 
exploit  its  potential  capabilities  to  the 
utmost.  There's  no  mystery  in  how  this 
may  be  done.  It's  only  a  matter  of 
thinking  before  unexposed  film  is  start- 
ed on  its  irrevocable  journey  across  the 
lens. 

The  variety  that  comes  from  a  lit- 
tle thoughtful  planning  in  advance  and 
careful  editing  after  films  are  processed 
brings  rich  returns  of  satisfaction  to  the 
cine  amateur  who  conscientiously  wants 
tc  raise  the  quality  of  his  efforts  above 
the  run  of  average  pictures. 


Instead  of  filming  baby's  first  at- 
tempts at  crawling,  for  instance,  by 
shooting  him  in  a  continuous  medium 
shot  as  he  inches  his  way  across  the  rug, 
this  sequence  can  be  presented  in  such 
a  manner  as  to  give  the  impression  that 
baby's  successful  approach  to  an  ob- 
jective is  in  some  doubt — actually  in- 
jecting a  measure  of  mild  suspense  into 
the  sequence. 

Here's  a  suggestion  how  drama  can 
bo  accented  through  planned  filming  of 
this  baby  crawling  sequence:  Show  ba- 
by in  a  long-shot  moving  from  a  sit- 
ting to  a  crawling  position.  Come  up 
for  a  close-up  of  the  first  attempt  at 
crawling.  Take  the  camera  off  the  baby 
and  in  a  long-shot  pick  up  a  toy  which 
is  its  objective.  Move  in  for  a  close-up 
of  the  toy.  Now  assume  a  position  per- 


Leon  Cantrell 


mitting  the  camera  to  catch  both  ba- 
by and  toy.  Show  baby  stopping.  Try  to 
catch  expressions  indicating  it  is  inves- 
tigating. This  injects  a  feeling  of  sus- 
pense; is  the  baby  going  to  go  on  and 
reach  the  toy?  Move  in  for  a  close-up  of 
baby  as  it  pauses  and  ponders;  catch  the 
head  looking  toward  the  toy.  Back  up 
for  a  long  shot  showing  distance  be- 
tween baby  and  toy.  Take  a  position  be- 
hind the  toy  to  show  baby  approaching 
it.  Catch  baby  grasping  toy  and  finish 
with  a  big  close-up  of  child  holding  toy 
and  smiling. 

It  is  pointed  out  that  this  scene  will 
consume  little  more  film  than  the  aver- 
age amateur  would  hav»  used  in  a  less 
inspired  shooting  schedule.  The  outlined 
continuity  sequence  can  be  filmed  in 
several  short  medium  shots,  a  number 
of  close-ups  in  another  group,  then  all 
shots  could  be  spliced  into  proper  posi- 
tion by  editing. 

A  little  boy  tossing  a  stick  for  his 
dog  to  retrieve  can  be  filmed  in  a  similar 
manner  to  create  a  feeling  of  dramatic 
interest  in  the  completed  film.  Show 
boy  in  close-up  leaning  over  to  pet  his 
dog.  Show  his  hands  presenting  a  stick 
to  the  dog.  Then  a  medium  shot  will 
show  the  boy's  arm  drawing  back  and 
throwing  the  object.  Follow  dog  as  he 
starts  out  after  the  stick.  Move  camera 
tc  the  other  end  of  the  garden  or  play 
area,  have  the  stick  thrown  while  the 
camera  is  pointed  at  a  particular  spot. 
Have  the  dog  come  into  the  camera 
view  immediately;  he  picks  up  the  stick 
in  his  mouth  and  starts  back  to  his  mas- 
ter. Then  take  a  camera  position  back 
of  the  boy  to  show  dog  approaching  him 
with  the  object.  A  close-up  of  boy  pat- 
ting and  fondling  the  dog  can  end  thz 
scene.  This  little  sequence  may  be  filmed 
with  little  more  film  than  would  have 
been  required  for  a  single,  but  lengthier, 
shot  from  one  location  and  yet  there 
has  been  added  a  wealth  of  sustained  in- 
terest and  variety. 

Here's  how  suspense  can  be  achieved 
•  Continued  on  Page  }  }  i 


•  It's  intimate,  unposed  shots 
made  in  closeup  that  mark  good 
dramatic  camera  technique,  a 
technique  applicable  to  movies 
of  any  subject. 


HOME  MOVIES  FOR  AUGUST 


T 

1 AILORED  to  the  requirements 
of  war-time  filming  is  this  amusing  and 
easy-to-film  scenario  in  which  the  whole 
family  plus  some  of  the  neighbors'  kid- 
dies may  take  part.  A  timely,  week-end 
filming  project  for  those  restricted  to 
making  movies  close  to  home,  "The 
Prodigal"  plot  is  such  it  may  readily  be 
altered  to  allow  inclusion  of  additional 
characters  or  incidents. 

All  shooting  is  out  of  doors  and  for 
this,  use  of  a  sunlight  reflector  is  strong- 
ly advised  to  improve  lighting,  especi- 
ally in  the  closing  shots  involving  in- 
terior of  the  automobile. 

"THE  PRODIGAL" 

Scene  i.  Fade  in.  Medium  shot.  Ex- 
terior, backyard.  Three  or  four  children 
lolling  about  listlessly.  Evidently  lone- 
some and  depressed  as  though  missing 
someone. 

Scene  2.  Medium  shot.  Front  porch 
of  house.  Mailman  is  placing  letter  in 
mail  box;  proceeds  on  way. 

Scene  3.  Medium  long  shot.  Same 
scene  as  above  but  with  camera  farther 
back.  Mother  opens  door,  goes  to  mail 
box,  takes  out  letter  and  casually 
opens  it. 

Scene  4.  Closeup  of  mother  reading 
letter.  Suddenly  her  expression  changes 
to  surprise  and  joy.  Cut  to — 

Scene  5.  Same  as  scene  3.  Mother 
looks  up  from  reading.  Goes  to  porch 
rail  and  looks  anxiously  for  children. 
Fails  to  see  them  and  re-enters  house. 

Scene  6.  Same  as  scene  i.  Same  ac- 
tion as  before. 

Scene  7.  Medium  shot.  Exterior,  back 
door  of  home.  Mother  comes  out  with 
letter  in  hand.  Stops  as  she  sees  chil- 
dren; calls  to  them: 

TITLE:  "Butch  is  coming  home.  .  .!" 

Scene  8.  Same  as  scene  6.  As  children 
look  up  upon  hearing  mother  speak. 

Scene  9.  Closeup  of  one  child  as  he 
w  she  re-acts  to  mother's  words.  Ex- 
pression is  one  of  joy  and  surprise. 

Scene  10.  Same  as  above  of  another 
child  but  ending  with  child  starting  to 
run  out  of  scene  obviously  toward 
mother. 

Scene  ii.  Same  as  scene  8.  Children 
running  out  of  scene  toward  mother. 

Scene  12.  Same  as  scene  7.  Children 
entering  scene  and  asking  mother  for 


lamilu  SCEMRIfl 


By  WALLA 

more  news.  She  starts  to  read  letter. 

Scene  13.  Medium  closeup  of  moth- 
er. Son  and  another  child.  Mother  is 
reading  letter.  Son  snatches  letter  from 
her  excitedly  and  begins  to  read  it.  Oth- 
er children  in  group  crowd  around  him 
as  he  reads. 

Scene  14.  Back  to  scene  12.  Mother 
looks  out  of  scene.  Sees  next  door  neigh- 
bor. Calls  to  her,  and  starts  to  walk 
over  to  neighbor  out  of  scene. 

Scene  15.  Medium  closeup.  Neigh- 
bor on  opposite  s'de  of  fence  looking 
quizzically  toward  mother  who  enters 
scene  from  opposite  side.  As  mother 
enters  scene,  she  speaks  to  neighbor. 

TITLE:  "Butch  is  coming  home." 

Scene  16.  Back  to  scene  15.  Neigh- 
bor reacts  to  mother's  statement  with 
expression  of  joy. 

(Here  an  additional  seour-nce  may  be 
cut  in  depicting  each  child  in  the  cast 
happily  skipping  down  the  street,  hop- 
ping fences,  or  playing  laap  frog  over 
a  fire  hydrant,  and  encountering  other 


C       E  S      T       A       H  L 

playmates  and  exclaiming,  "Butch  Is 
com'ng  Home!"  This  sequence  should 
end  in  a  fade-out.) 

Scene  17.  Fade-in:  Medium  long 
shot.  Sidewalk  in  residential  section, 
l  ather,  obviously  homeward  bound  from 
ihe  office,  approaches  camera. 

Scene  18.  Closeup.  Son,  playing  in 
front  yard  of  home,  looks  up,  sees  fath- 
er approaching;  calls  to  other  children 
as  he  starts  on  run  towards  father  out 
of  scene.  Other  children  enter  scene 
from  behind  camera  and  exit  in  direc- 
tion of  approaching  father. 

Scene  19.  Medium  dolly  shot.  Father 
approaching  camera.  Smiles  as  he 
watches  children  approach.  They  come 
into  scene  almost  simultaneously.  Father 
n-jrs  rrms  about  them  affectionately. 
Son  speaks  up,  excitedly  as  camera  con- 
tinues to  travel  ahead  of  the  group. 

TI'TTE:  "Butch  Is  Coming  Home — 
Tonight,  at  5:30!" 

Scene  20.  Back  to  scene  19,  camera 
O  Continued  on  Page  }  j  j 


315 


Pivot  sorew 


Speed  adjustment 
knob  attachment 


HOME  MOVIES  FOR  AUGUST 


•  Diagrams  show  how  to  drill  holes 
and  install  simple  single-frame  con- 
trol in  16mm.  Keystone  camera, 
according  to  author. 


SIIGLE-FRAME 


release 


for  K^^^tone  camera 

A  simple  home  workshop 
project     for  cinemachanics 


INKNOWN  to  many  movie 
amateurs  is  the  fact  that  several  cine 
cameras  are  readily  adaptable  to  single- 
frame  release  installations,  installations 
which  the  camera  owner  may  build  and 
complete  himself.  Two  such  cameras  are 
the  models  A3  and  A7  i6mm.  Key- 
stones, and  I  understand  mechanisms  of 
the  Keystone  eights  are  similar. 

I  altered  my  Keystone  i6mm.  camera 
to  provide  a  single-frame  release  button. 
The  work  required  was  exceedingly 
simple  calling  for  a  minimum  of  me- 
chanical skill  and  only  a  few  tools, 
namely:  a  hand  drill,  pair  of  dividers  or 
compass,  a  No.  39  and  a  No.  45  wire 


gauge  drill,  a  screwdriver,  small  pin 
punch,  and  a  hammer.  The  material  re- 
quirements are  even  smaller:  short 
length  of  No.  40  wire  gauge  drill  rod 
and  a  piece  of  Ya,"  wood  dowel. 

Diagrams  of  the  internal  mechanism 
of  the  camera  appear  on  this  page  to- 
gether with  details  for  drilling  holes  and 
installing  the  single-frame  release  con- 
trol. The  single-frame  action  functions 
around  the  camera's  start  and  stop  gear 
which  can  be  seen  through  release  arm 
slot  in  the  inside  case  when  outside 
camera  case  is  removed.  On  this  gear  is 
a  stop  pin  which  strikes  against  the  ex- 
posure release  arm  when  the  exposure 


button  is  released  after  making  an  ex- 
posure. When  in  open  position,  the  re- 
lease arm  clears  this  stop,  allowing  the 
start  and  stop  gear  to  rotate  freely  for 
duration  of  the  exposure. 

The  single-frame  action  is  obtained 
by  placing  an  additional  obstruction  in 
the  path  of  the  stop  pin  on  the  gear. 
This  may  be  done  by  drilling  a  hole 
through  the  inside  and  outside  camera 
cases  and  inserting  a  pin  to  interrupt 
rotation  of  the  stop  and  start  gear  as 
shown  in  the  side  view  sketch. 

Holes  for  the  rod  are  drilled  in  both 
the  inside  and  outside  camera  cases  with 
a  No.  39  drill.  Outside  camera  case  is  re- 
moved by  unscrewing  screws  i,  2  and  3 
shown  in  top  diagram,  plus  the  pin  (4) 
in  the  winding  handle.  This  pin  may 
quickly  be  removed  by  tapping  lightly, 
with  a  small  punch  or  nail.  When 
screws  2  and  3  are  removed,  the  knobs 
they  secure  will  lift  off  readily. 

Hole  in  the  inside  case  is  drilled  first, 
and  should  be  at  least  3/16"  away  from 
the  exposure  arm  slot  in  the  inside  case. 
After  this  hole  is  drilled,  the  rod  should 
be  inserted.  Catch  the  gear  stop  on  it  by 
pushing  forward  the  exposure  release 
arm.  When  thus  caught  on  the  rod,  the 
release  arm  will  snap  back  into  the  ob- 
structing position  by  the  spring.  Then, 
when  the  rod  is  withdrawn  the  stop  and 
start  gear  will  make  one  complete  rev- 
olution, coming  to  a  stop  at  the  release 
arm.  This  operation  will  produce  a  sin- 
gle exposure  of  approximately  i  /40  of 
a  second  with  the  camera  shutter  speed 
set  at  normal  16  frames  per  second. 

At  this  point,  shutter  should  be  care- 
fully checked  to  make  sure  it  is  fully 
closed.  If  it  is  not  completely  closed, 
it  becomes  necessary  to  re-position  the 
single  frame  rod  inserted  from  the  side, 
drilling  new  holes  in  both  camera  cases 
in  the  alternate  position  shown  in  dia- 
gram. 

Where  hole  must  be  drilled  in  alter- 
nate position,  the  whole  single-frame 
procedure  must  be  reversed.  Instead  of 
the  rod  making  the  exposure,  causing 
the  gear  to  stop  against  the  exposure 
arm,  the  operation  will  start  at  the  ex- 
posure arm,  the  gear  completing  its  re- 
•  Continued  on  Page  }28 


316 


HOME  MOVIES  FOR  AUGUST 


PACE  317 


tVhat  the  beg,inner  ^Itould 

know  about  EDlTISfi 


I  OILED  down,  the  average 
cut  and  dried  instructions  on  editing 
home  movies  run  something  like  this: 
"After  film  is  processed,  project  it — 
making  notes  indicating  where  to  cut 
and  how  to  re-arrange  scenes  at  editing 
board.  Then  take  film  to  editing  board, 
trim  excess  frames,  cut  in  closeups  at 
proper  points,  and  splice  in  titles." 

Such  advice,  however,  cannot  be  fol- 
lowed with  success  by  the  average  be- 
ginning amateur,  because  invariably 
much  of  his  filming  consists  of  unre- 
lated shots  made  "snap  shot"  fashion 
without  any  thought  of  continuity. 
Unless  closeups,  medium  shots,  reac- 
tion shots,  etc.,  are  planned  in  ad- 
vance and  carefully  executed,  they 
cannot  be  available  when  the  time 
comes  to  edit  the  film. 

The  subject  of  editing,  therefore, 
brings  us  right  back  to  where  we  left 
oflf  in  our  last  lesson  for  the  beginning 
amateur  in  the  July  issue — on  the  sub- 
ject of  shooting  our  first  movie.  Let  us 
review  the  closing  paragraph  of  the  July 
article: 

"To  summarize  our  seventh  lesson: 
the  important  thing  in  any  motion  pic- 
ture is  continuity.  Continuity  makes 
movies  real.  Next,  but  not  least  import- 
ant, is  the  practice  of  building  for  se- 
quence and  altering  our  shots  from  long 
to  medium  or  close-ups.  All  this  must 
be  done  at  the  time  of  shooting  and 
therefore  requires  a  little  careful 
thought  and  planning  before  pressing 
the  camera  starting  button.  But  it  pays 
dividends  in  the  long  run  in  pictures 
with  more  lasting  interest." 

Previous  articles  have  made  clear  the 
importance  of  continuity  and  have  ex- 
plained how  continuity  is  obtained  in 
even  the  most  casual  sequence  of  shots 
of  the  baby,  the  dog,  or  one's  vacation 
trip.  Continuity  begins  with  planning 
shots  before  they  are  made,  with  an  eye 
toward  continuity  in  the  completed  pic- 
ture. When  this  is  done,  the  subject 
filmed — the  action  pictured — is  record- 


•  Good  editing  requires  that  a 
swell  shot  like  this  be  followed 
up  with  closeups  of  subjects 
after  they  land  in  the  water, 
showing  their  natural  reaction. 


B  y 


ed  in  sequences  of  long,  medium  and 
closeup  shots,  often  varied  in  camera 
angle.  This  practice  is  what  is  termed 
"camera  editing"  and  makes  the  final 
job  of  editing  successful. 

So  we  come  to  the  actual  task  of 
breaking  down  our  roll  of  film  into  sep- 
arate scenes,  where  necessary,  preparatory 
to  rearranging  them  and  splicing  them 
together  again  at  the  editing  board. 
Before  we  proceed,  it  is  timely  to  dwell 
upon  some  of  the  accessories  which  are 
vital  to,  as  well  as  those  which  simplify, 
the  process  of  film  editing. 

First  requirement  is  a  good  splicer. 
They  are  available  at  various  prices — 
the  more  expensive  providing  refine- 
ments not  available  in  the  simpler  and 
less  expensive  types.  As  to  which  is  best 
— straight  or  diagonal  splice — it  really 
doesn't  matter  to  the  average  amateur. 
Where  one  expects  to  do  a  great  deal  of 
splicing  the  "wet"  splicer,  which  hast- 
ens the  removal  of  the  emulsion  through 
the  application  of  moisture  may  be  pre- 


^""old  M.  Lambert 


w 


f erred;  however,  an  efl5cient  dry  splicer 
will  remove  emulsion  just  as  quickly 
and  make  a  dependable  splice. 

Next  item  is  a  pair  of  rewinds.  You 
can  make  these  yourself,  if  you  are  han- 
dy, or  they  may  be  purchased  at  various 
prices.  But  they  are  absolutely  neces- 
sary to  an  efficient  job  of  editing.  Next 
a  means  of  viewing  the  film  at  the  edit- 
ing board  should  be  provided.  This  can 
be  a  small  magnifying  glass  or,  if  your 
pocketbook  will  allow,  one  of  the  ac- 
tion editors  such  as  the  Craig  Projecto- 
Editor  or  the  Bell  &  Howell  Filmotion 
editor  which  p)ermit  viewing  the  film  in 
motion  exactly  as  seen  on  the  screen. 
With  such  editing  aids,  critical  cutting 
to  the  exact  frame  can  easily  be  done. 

In  order  to  protect  the  separated  film 
strips  and  make  them  readily  available 
for  splicing,  a  means  for  holding  the 
strips  or  sections  of  film  should  be  pro- 
vided. Several  editing  boards  for  this 
purpose  are  on  the  market.  One,  the 
•  Continued  on  Page  327 


PACE  318  HOME  MOVIES  FOR  AUGUST 

^THE  EXPERIMEITAL 


Typing  Title  Cards 

If  your  typewriter  will  not  hold  small 
title  cards  securely,  here  is  a  remedy. 
Using  an  ordinary  sheet  of  typewriter 
paper,  lay  title  card  upon  it  and  sketch 
outline  with  pencil.  Then  with  a  razor 
blade  or  sharp  knife,  cut  four  slits  as 
shown  in  sketch,  insert  card,  and  type. 

— /.  H.  Baldwin, 
Duliith,  Minn. 

Beaded  Screen 

A  highly  efficient  glass  beaded  screen 
may  easily  be  made  as  follows:  Purchase 
n  white  window  shade  or  a  piece  of 
white  sign  cloth  of  the  size  desired  for 
the  fabric  base.  Lay  this  over  a  panel 
of  plywood  or  on  a  smooth  table  that 
is  larger  than  the  fabric.  Stretch  fabric 
by  fastening  rubber  bands  to  edge  and 
securing  to  table  with  thumb  tacks. 
This  serves  to  keep  fabric  from  wrink- 
ling while  the  paint-adhesive  is  being 
applied,  also  to  take  care  of  contraction 
and  expansion  due  to  application  of 
paint. 

Before  painting,  mask  off  the  screen 
area,  leaving  a  margin  around  the  edge. 
Use  masking  tape,  placing  same  inside 


the  lines,  leaving  the  margin  clear.  Paint 
the  margin  with  a  good  quality  flat 
black  paint  and  after  same  has  dried, 
remove  the  masking  and  re-apply  over 
the  black  painted  area,  affixing  it  care- 
fully along  the  inside  margin.  The  screen 
area  is  now  ready  to  be  painted. 

Cover  this  area  with  a  mixture  of 
Eagle  white  lead  paste  thinned  with 
flatting  oil  to  the  consistency  of  thick 
cream.  Add  a  few  drops  of  blue  paint 
to  the  white  to  increase  its  whiteness. 
When  paint  dries  to  tacky  stage,  re- 
move masking  tajje,  and  apply  the  glass 
beads. 

Best  method  for  applying  beads  is  to 
place  in  tall  cardboard  or  tin  box  and 
cover  same  with  a  discarded  silk  stock- 
ing. Stocking  serves  as  a  strainer  for 
the  beads  and  facilitates  spreading 
beads  evenly  over  the  surface  of  screen. 
Tilt  screen  to  remove  surplus  beads  and 
allow  to  dry. 

Best  glass  beads  for  this  purpose  are 
the  No.  lo  grade  and  may  be  purchased 
from  the  Jos.  Reidl  Glass  Works,  261 
Fifth  Ave.,  N.  Y.  C,  or  Frankel  Im- 
porting Co.,  28  West  38th  St.,  same 
city. 

— R.  W.  Conard, 
Lansdowne ,  Penna. 


For  Still  shots 

Until  recently  when  filming  movies, 
I  found  that  whenever  I  wanted  to 
make  a  still  shot  of  one  of  the  scenes, 
the  scene  would  not  match  that  of  my 
movie  camera  by  the  time  I  got  out  my 
still  camera  and  set  it  up. 

I  therefore  made  a  simple  metal  brac- 
ket that  would  enable  me  to  mount 
both  cameras  on  the  tripod  as  shown  in 
illustration.  As  still  camera  covers  same 
field  as  cine  camera,  I  need  only  line 
up  the  shot  with  my  cine  camera  view- 
finder  to  serve  both  cameras. 

— Bob  Mayne, 
Muskegon,  Mich. 

Darkroom  Spooling 

To  overcome  difficulty  of  threading 
film  into  slit  in  camera  spool  in  dark- 
room, first  thread  a  short  length  of  lead- 
er into  the  slit  before  turning  out  dark- 


room lights.  Unexposed  film  may  then 
be  wound  on  the  spool  simply  by  plac- 
ing end  of  film  between  spool  core  and 
leader  and  wrapping  leader  one  or  more 
turns  the  same  as  catching  the  broken 
end  of  a  film  in  a  projection  reel. 

— S.  Jepson, 
Bombay,  India. 

Title  Backgrounds 

To  simulate  air-brushed  backgrounds 
for  my  titles,  in  the  absence  of  airbrush 
equipment,  I  prepare  the  titles  as  fol- 
lows: First  I  design  a  suitable  back- 
ground by  cutting  out  pieces  of  paper 
of  various  colors  and  arranging  and 
pasting  them  in  neat  design  on  a  card- 
board. This  design  is  placed  in  my  titler 
and  photographed  with  a  diffusion  fil- 
ter in  place,  producing  a  soft-focus  ef- 
fect. 

Film  is  wound  back  in  the  camera 
and  the  title  text  double  exposed  on  the 
film  with  diffusion  disc  removed  from 
the  lens.  Second  exposure  is  made  on 
soft  black  title  card  with  white  letters. 
Result  is  crisp,  sharp  letters  over  a  soft 
patterned  background. 

— Paul  Gross, 

Wisconsin  Rapids,  Wise. 

Yardstick 

In  order  to  judge  accurately  the  dis- 
tance from  subject  to  light  source  when 
filming  indoors  under  artificial  light,  I 
have  marked  the  light  cord  extensions 
of  my  Photoflood  reflectors  in  feet.  Foot- 
age is  marked  by  wrapping  thin  strips 
of  white  adhesive  tape  around  the  cord 
every  12  inches  and  marking  on  tape 
the  number  of  feet  in  black  ink  begin- 
ning at  the  plug. 

Thus,  when  setting  up  my  lamps  for 
a  shot,  the  extension  cord  is  first  uti- 


DON'T  KEEP  IT  A  SECRET! 

Tell  your  brother  hobbyists  about 
those  gadgets  you've  made  to  en- 
liven your  movie  making  pleasure. 
Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  columns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
jection reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  ideas  you  may  submit.  Ideas 
not  immediately  published  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
ly submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  16mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


HOME  MOVIES  FOR  AUGUST 

n  I  E  WORKSHOP 


lized  to  measure  distance  of  subject 
from  lights  before  connecting  it  to 
power  source. 

—Kolland  Clark. 
Salem,  Ore. 


Editing  Board 

For  those  who  Hke  to  carry  spHcer 
and  rewinds  along  with  projector  when 
screening  pictures  away  from  home, 
here  is  an  idea  for  a  folding  editing 
board  that  enables  compressing  the  unit 
into  smaller  space  without  necessity  of 
demounting  rewinds  or  splicer.  The  idea 
is  particularly  suitable  for  those  desir- 
ing to  build  their  own  projector  car- 
rying case  in  which  splicer  and  rewinds 
may  also  be  accommodated. 

Editing  board  is  divided  into  three 
units — the  two  end  pieces  being  hinged 
to  the  central  piece  as  shown  by  means 
of  simple  metal  hinges  A  which  can  be 
made  of  short  pieces  of  flat  metal.  In 
closed  position,  the  two  end  pieces  of 
the  base  are  raised  up  and  over  the  top 
of  the  central  piece.  Short  pieces  of  flat 
metal  secured  by  a  single  screw,  as 
shown  at  B,  are  swung  into  position 
over  the  central  panel  when  editing 
board  is  extended  in  order  to  keep  end 
pieces  rigid  against  pull  exerted  by  film 
during  rewinding  operations. 

—L.  B.  McCullough,  M.D., 
Mansfield,  Ohio. 

Safelight 

An  ordinary  flashlight  may  readily 
be  converted  into  a  handy,  portable 
safelight  to  augment  regular  darkroom 
safelight  by  cutting  discs  of  colored 
celluloid  or  cellophane  and  fitting  them 


in  back  of  the  flashlight  lens.  Idea  is 
particularly  suited  to  home  processors 
of  movie  film,  where  hand  held  safelight 
is  needed  for  close  inspection  of  film. 
Use  of  two  colors  of  cellophane  as  a  fil- 
ter for  ortho  or  positive  is  suggested — 
one  red  and  one  green  jjlaced  one  over 
the  other. 

— T.  A.  Hassler, 

West  Liberty,  Ohio. 

TiUe  File 

In  order  to  make  more  conveniently 
ready  for  use  the  titles  which  appear 
in  Home  Movies  each  month,  I  cut 
them  out  and  mount  them  on  a  3"x5" 
index  card  and  place  them  in  a  small 
card  file. 

Index  cards  are  captioned  for  the 
various  title  classifications — End,  Flow- 
ers, Family,  Sports,  Parades,  etc. — and 
the  titles  filed  accordingly.  Those  titles 
having  center  cut  outs  are  mounted  on 
cards  with  transparent  scotch  tape  ap- 
plied at  sides  only.  This  permits  insert- 
ing card  bearing  text  behind  the  title 
for  filming  purptoses  —  very  practical 


where  such  titles  are  to  be  used  as 
frames  for  a  series  of  sub-title  captions. 

— Dorris  Hamilton, 
Ft.  Wayne,  Ind. 

Fading  Device 

If  you  have  one  of  the  popular  two- 
piece  combination  sun-shade  and  filter 
holders  you  can  utilize  it  to  make  fades 
with  the  addition  of  lenses  from  a  pair 
of  low-priced  Polaroid  sun  glasses 

Remove  the  Polaroid  lenses  from  the 
frames  and  grind  one  of  them  down  to 
fit  inside  the  filter  holder.  Fit  the  sec- 
ond lens  into  the  sunshade  as  shown  in 
sketch.  First  lens  should  be  set  at  nat- 
ural position  and  cemented  firmly  in 
place,  and  a  mark  scratched  on  outside 
of  filter  holder  to  insure  setting  filter 
holder  in  same  position  over  camera  lens 
each  time. 


PACE  319 


g,adg.et^y  tricks 
shortcut ^  contri' 
butedby.  Cinebug.^ 


Loosen  the  sunsiiade  and  revolve  until 
neutral  position  of  second  Polaroid  lens 
is  found  and  place  mark  on  edge  of  sun- 
shade. Fading  is  accomplished  by  rotat- 
ing the  loosened  sunshade  a  quarter  turn 
from  this  position,  thus  moving  the 
second  Polaroid  l»ns  to  full  polarizing 
position.  Good  results  are  obtainable 
with  either  panchromatic  or  ortho  film. 


SUNSHADE  & 


Use  of  this  fading  device  requires 
opening  the  lens  approximately  i  '/2 
stops  in  order  to  film  normally  through 
the  two  Polaroid  lenses  in  neutral  posi- 
tion. 

— /•  R-  Woods, 

Philadelphia,  Penna. 


THE  DEFENSE  PROGRAM 

promises  to  put  an  increasingly 
greater  premium  on  the  ingenuity  of 
movie  amateurs.  To  help  cinebugs 
in  ther  effort  to  make  some  of  their 
own  gadgets  and  accessories  during 
the  coming  pressure  of  defense 
needs,  the  best  of  the  HOME  MOV- 
IES cine  workshop  ideas  have  been 
collected  into  one  compact  volume, 
complete  with  illustrations  and  sim- 
ple explanations  of  how  to  make  the 
various  items. 

Mail  a  dollar  bill  to  HOME  MOV- 
IES today  and  a  copy  of  this  helpful 
gadget  book  will  be  in  your  hands 
quickly.  It's  an  insurance  invest- 
ment against  equipment  shortages 
yet  to  come! 


PACE  320 


HOME  MOVIES  FOR  AUGUST 


M 


ome  movie 


Where   to   rent  or   buy   8mm.   and    16mm.  films 


■  O  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films  maintained  by  your  photo  dealer  for  owners  of  8mm.  and 
1 6mm.  projectors.  Rental  rates  are  surprisingly  low  and  new  films  are  added 
at  regular  inter\'als.  Dealers  listed  below  will  gladly  assist  with  suggestions 
for  one  reel  to  full  evening  programs: 


CALIFORNIA 


HOLLYWOOD 

Bailey  Film  Service 
1651   Cosmo  Street 

Bell  &  Howell  Filmosound  Library 
716  N.  La  Brea  Ave. 

Castle's  Inc. 
1529  Vine  Street 


Morgan  Cannera  Shop 
6262  Sunset  Blvd. 


LONG  BEACH 


Winstead  Bros.,  Inc. 
244  Pine 


LOS  ANGELES 

Films  Incorporated 
1709  W.  8th  Street 


SAN  FRANCISCO 

Bell  %L  Howell  Filmosound  Library 
Photo  &  Sound,  Inc. 
153  Kearny  St. 

Robert  Crawford  Studios 
235   Pine  Street 
Telephone:  YUkon  1234 


SANTA  MONICA 

Stewart  Photo  Company 
1257  Third  Street 


DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St.,  N.  W. 


ILLINOIS 


BERWYN 


Colonial  Camera  Shop 
6906  Windsor  Ave. 

CHICAGO 

Bell'Sr  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

Films  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 


INDIANA 


INDIANAPOLIS 

W.  Stuart  Bussey 

17  East  St.  Joseph  St. 


IOWA 


MASON  CITY 


Decker  Bros. 

209  No.  Federal  Ave. 


KANSAS 


WICHITA 


Jeff's  Camera  Shop 
139  N.  Broadway 

Lewis  Film  Exchange 
216  East  Ist  St. 


MASSACHUSETTS 


BOSTON 


Don  Elder't  Film  Library 
739  Boylston  St.,  Dept.  HM. 

Frank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
325  State  Street 


NEW  YORK 


KENMORE 


Nixon  Camera  &  Photo  Supply  Co. 
2811  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
30  Rockefeller  Plaza 

Films.  Incorporated 
330  W.  42nd  St. 

Walter  O.  Gutlohn.  Inc. 
25  West  45th  St. 

Haber  &  Fink,  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
IS  West  47th  St. 


OHIO 


CINCINNATI 


Ralph  V.  Haile  &  Assoc. 
215  Walnut  St. 


DAYTON 


South  Park  Fotoshop 
1027  Brown  Street 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 


OREGON 


PORTLAND 


Films  Incorporated 
314  S.  W.  9th  Avenue 


PENNSYLVANIA 

PHILADELPHIA 

Kunz  Motion  Pictures 
1319  Vine  Street 


J'/  ^ou  want  a 

FILM  to  ^now 

.  .  .  NEWS  OF  TIMELY  SUBJECTS 
FOR  HOME  PROJECTORS 


Pacific  Battle  Movies 

Owners  of  home  movie  projectors  can 
now  show  on  their  own  screen  authentic 
movies  of  the  titanic  air-sea  struggle  in 
the  Pacific  in  "Midway  and  Coral  Sea 
Battles,"  title  of  the  latest  War  release 
by  Castle  Films. 

The  picture  begins  with  scenes  show- 
ing movement  of  troops  to  Australia  in 
one  of  the  war's  greatest  convoys.  The 
Japs  attempt  to  strike  before  greater 
strength  is  mobilized  "down  under." 
Assuming  that  Midway's  defensive 
strength  might  have  been  neglected, 
they  attack  in  that  area,  providing  a 
field  day  for  U.  S.  Army  and  Navy 
bombers  and  torpedo-carrying  planes.  A 
highlight  of  this  sequence  in  the  film 
is  the  bombing  of  a  Jap  heavy  cruiser 
which  weaves  a  snake-like  wake  astern 
in  frantic  efforts  to  escape  hits. 

In  the  battle  of  the  Coral  Sea,  Castle 
Films  shows  in  this  News  Parade  the 
great  role  the  old  Lexington  played  in 
smashing  the  Jap  invasion  fleet  before 
the  Navy's  ancient  aircraft  carrier 
caught  fire.  From  vantage  points  aboard 
a  destroyer  News  Parade  cameramen  se- 
cured a  complete  film  stor>'  of  her  final 
hours.  The  explosion  of  her  enormous 
gasoline  tanks  is  a  spectacular  moment. 

Defense  Films 

Civilian  Defense  and  other  patriotic 
groups  are  reported  turning  more  and 
more  to  use  of  motion  pictures  in  their 
training  and  morale  meetings.  Films  have 
been  found  to  be  the  best  possible  stim- 
ulator of  attendance  and  enthusiasm 
under  such  headings  as  War  Reports, 
Official  Government  Films,  Victory 
Gardens,  Emergency  First  Aid,  Indus- 
trial Defense  Plant  Training,  American 
History  and  Principles,  Protection 
against  Fire  Bombs,  and  Air  Raid  War- 
den Work. 


HOME  MOVIES  FOR  AUGUST 


PAGE  321 


Under  these  headings  the  Bell  & 
Howell  Filmosound  Library  has  just  is- 
sued a  catalog  supplement,  listing  over 
200  new  films,  all  of  them  added  since 
their  1942  catalog  was  completed  in 
January. 


Sennetf  Comedy 

"Gymnasium  Jim"  is  title  of  a  new 
8mm.  release  of  one  of  Mack  Sennett's 
most  popular  Keystone  Comedies.  Prints 
are  direct  reductions  from  original 
35mm.  negatives  which  are  available 
exclusively  through  the  "Movie-a- 
Month"  club  plan  of  the  Cope  Studios, 
3720  So.  Figueroa,  Los  Angeles.  Com- 
plete subject  consisting  of  two  reels, 
lists  at  $8.00.  Catalogs  listing  other 
8mm.  subjects  available  free. 


Swing  It,  Sailor 

Another  popular  i6mm.  sound  re- 
duction of  a  theatrical  film  is  Post  Pic- 
tures' release  of  "Swing  It,  Sailor"  fea- 
turing Wallace  Ford  and  Isabel  Jewell. 
Of  timely  interest  it  boasts  a  clever 
story  of  two  gobs  and  a  girl  and  some 
compelling  action  on  an  aircraft  car- 
rier with  bombing  practice  furnishing 
the  climactic  finish. 

Running  time  is  65  minutes  for  the 
seven  reels. 

Official's  News  Thrills 

Volume  2  of  Official  Films'  "News 
Thrills  of  1942"  brings  8mm.  and 
1 6mm.  projector  owners  rare  and  re- 
cent war  action  featuring  the  "Heroes 
of  the  Hour" — Gen.  MacArthur,  Gen. 
Stillwell,  Gen.  Chiang  Kai-Chek,  Gen. 
Jimmy  Doolittle,  Lt.  Bulkeley  and  Lt. 
O'Hare.  Also  included  are  vivid  scenes 
of  the  battle  of  Midway  Island  recently 


J      ,rp  the  finest  we 
WoUensak  lenses  toda>^  ^^^^ 

have  ever  produced.  T^ey     P  ^^^.^.^^ 

of  steady  ^^^^^  fine  are 
manufacture.  T  butes        ^^.^^^  ^^^^^^ 

e^ntnent  ^^^^^  you  may  have  to  watt 

--r;^:newW^^^^^ 
l:^:^r::^l-awonensak . 


Gef  more  ouf  of  ever/  picfure  w/fh 

the  BEST  BALANCE  of  picture  taking  LIGHT, 
COLOR  temperature  and  LAMP  LIFE 


This  fact  about  filament  lamps  has  been  checked  again 
and  again:  Lamp  life,  light  and  color  depend  on  each 
other,  in  a  3-way  balance.  If  you  favor  one,  you  sacri- 
fice on  the  others.  You  get  the  best  balance  of  long  life, 
high  light-output,  correct  color  temperature,  with  low 
current  consumption  .  .  .  and  get  it  uniformly,  at  low 
cost . . .  when  you  say,  "G-E  MAZDA  V\\oxoflood  lamps." 


FOR 
BETTER 
PICTURES 


GENERAL  (g)  ELECTRIC 
MAZDA  PHOTO  LAMPS 


PAGE  322 


HOME  MOVIES  FOR  AUGUST 


Hollywood  Sepia  .  . 

ESO-C 


A  New  MONOCOLOR  8mra.  Emul- 
sion for  all  (I 'Uble  Smm.  cameras.* 
Prices  intlude  spooling  and  processing  without  additional 
charge.  Slit  to  tlie  single  Smm.  width,  ready  for  projection. 
For  th  se  summer  h  .me  m  >vics  in  the  popular  sepia  cur- 
rently used  in  many  Hnllj-w ood  productions.  'These  emul- 
si-ns  available  f  ir  single-run  Smm.  Unive*  cameras  also. 
Write  for  prices. 

ESO-C — Sepia  ortho  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Kxcellent  supplement 
for  your  Kodaclir.  me  movies.  $1.30  per  spool.  $3.70  per 
three  spools. 

ESO-A  —  Fine-grain,   contrast   semi-orthochromatic  film 
with  anti-halo  base.  Recommended  for  exteriors  only. 
$1.20  per  spool,  $3.20  per  three  spools. 
ESO-B — Super-orthochromatic  film,  full  anti-halo  protec- 
ti  in  for  use  on  eiteriors  and  interiors.  Over  twice  as 
•  fast"  as  ESO-A.  $1,25  per  spool,  $3,45  per  3  spools. 
ESO-0 — Violet  ortho  film,  anti-halo  base.  Excellent  for 
splicing  into  your  Kodachrome  movies,  $1,30  per  spool, 
$3,G5  per  three  sp3ols. 
ESO-G — A  scarlet  semi-orthochromatic  film  with  full  anti- 
halo  base.  Recommended  for  exteriors  only. Projects  a 
pleasing  colorful  pirturs — ideal  as  supplement  for  Koda- 
chrcme  ra  ivies.  $1.25  per  spool.  $3.35  per  three  spools. 
Ask  f:r  your  1942  cMalcg  cf  short  subject  films,  acces- 
sories and  two  additional  panchromatic  ESO-S  films  for 
y'ur  8mm  camera. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
tuarcnt.cs  thes2  8mm.  films  and  will  replace  any  film 
fiTchnscd  or  refund  the  full  purchase  nrice  if  you  are  not 
fully  pleased  with  your  results!  You  MUST  be  satisfied! 

ORDER    AT    TODAY'S    LOW  PRICES! 

ESO-S  PICTURES 

"Qualify  Xmm  Sen  ice" 
3945  Central  Street  Kansas  City.  Missouri 


.PARK  CINE 


Ati>!07inces  Us  new  Title  Catalogue  #S 

11  SMART  TYPE  STYLES 

50  ARTISTIC  BACKGROUNDS 

PRICES  THE  SAME  AS  BEFORE!! 
Now  Available  for  the  First  Time! 

Beautiful  KocJachrome  titles  .  .  .  clever 
animations  .  .  .  distinctive  hand  lettering. 


PARK  CINE  LABORATORY 

120  West  4l5t  St.  New  York  City 


Get  thii  rEEE   BOOK  I  Every 

Movie  tan  should  hifc  It.  Chuck 

full    with    choicest    oarKilni  yon 

ever  law    Dayllfht  Loading  MovU 

film  as  low  as  $1   per    oil.  pro- 

•essing  Included,  Also  nulk  film, 

and  dozens  of  bargains  in  accei- 

iorles,  screens,  reels,  tltleri.  etc. 

Contains  BIG  NEW  1,1  ?ST  166  film  lubjecls,  glam- 
our films,  cartoons,  westerns,  historical,  adven- 
ture and  sports  films  'or  8mra.  and  16mm.  Write 
today.  Tour  name  >n  postcard  brings  this  handy 
beok  by  reiurn  mall  FREE: 

E8SC0    FILM  PRODUCTS 
6117  S.  Campbell,  Dept.  H-8  Chicago 


WANTED 

Interesting  16mm.  Silent  Color  or  BW  footage  made 
by  amateurs.  Subjects  preferred  are  National  Parks, 
travel,  novelty,  bathing  girls.  Write,  explaining  fully 
what  you  have.  (Don't  ship  films.)  If  acceptable, 
originals  returned  to  you  undamaged  after  purchase 
of  copying  and  production  rights.  Box  88,  Home 
Movies  Magazine, 


PROTECT  FILMS 

AGAINST 
CLIMATE. 
SCRATCH- 

VAP^O^RATE 

ASK  TOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO,.  INc'  BELL  ft  HOWELL  CO. 
ISt  W,  4etli  St.  I8BI  Lerehmont,  Chleaie 
Ne»  York.  N,Y,  716  No,  Labrea,  Hollywood 

ES.  STAINS 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  T  H  II 
HOLLY. 
WOOD  PRO- 
DUCERS DO 

released  by  the  United  States  Navy. 

Volume  2  also  includes  the  following 
events:  R.A.F.  Bombs  Paris;  British 
Capture  Madagascar;  "Flying  Tigers" 
in  the  Far  East;  Chiang  Kai-Chek  and 
Gen.  Stillwell  in  Burma;  MacArthur  in 
Australia  and  in  the  Philippines;  Allied 
Ccnvoys  Foil  Axis  Attacks. 

These  movies  of  historical  import  are 
available  in  both  Smm.  and  i6mm.  and 
1 6mm.  sound  at  principal  photographic 
dealers  and  film  rental  libraries. 

Rental  Catalog 

Bailey  Film  Service,  165 1  Cosmo  St., 
Hollywood,  Calif.,  has  issued  a  new  cat- 
alog listing  all  Smm.  and  i6mm.  silent 
films  which  they  have  available  for 
rental.  Catalog  is  available  free  to  in- 
terested projector  owners. 

Above  firm  emphasizes  they  have 
adopted  policy  of  adding  new  films  to 
their  library  each  month  and  strive  to 


make  available  all  the  latest  films  as 
soon  as  available. 

Colorado  River  Thrills 

"Cruising  the  Grand  Canyon"  is  ti- 
tle of  one  of  latest  i6mm.  color  films 
made  available  by  Bell  &  Howell 
through  their  Filmosound  Libraries. 
Reel  shows  one  of  America's  greatest 
natural  scenic  wonders  from  an  unusual 
camera  angle.  Filmed  from  a  rowboat 
during  a  cruise  down  the  Colorado  to 
Lake  Meade,  the  picture  shows  some 
daring  action  on  part  of  men  maneuver- 
ing boat  through  the  many  rapids  and 
whirlpools  for  which  the  upper  Colora- 
do is  famous. 

Photographed  by  Barry  Goldwater, 
the  subject  may  be  purchased  outright 
or  rented.  Further  information,  rental 
or  purchase  rates,  etc.,  may  be  had  by 
writing  Bell  &  Howell  Co.,  1801  Larch- 
mont  Ave.,  Chicago,  111. 


J^ew  developments  in  iound 


•  Continued  from  Page  }  10 

of  the  microphone's  diaphragm  result 
in  rapid  changes  in  the  depth  to  which 
the  stylus  cuts  the  gelatin-opaque  sand- 
wich. Since  the  stylus  is  wedge-shaped, 
a  greater  depth  penetration  results  in 
a  wider  strip  of  the  opaque  being  re- 
moved; thus,  a  greater  or  less  displace- 
ment of  the  microphone  diaphragm 
causes  a  greater  or  less  depth  penetra- 
tion of  the  gelatin-opaque  sandwich  by 
the  stylus,  with  a  resultant  greater  or 
less  lateral  cutting  of  sound  track  in 
the  opaque  layer  as  shown  in  the  ac- 
companying diagram.  A  track  produced 
by  this  method  rather  closely  resembles 
the  photographically-produced  variable 
area  sound  film  record  common  in  this 
country. 

In  reproducing  the  Philimil  track, 
the  film  is  run  past  the  familiar  sound 
head,  consisting  of  exciter  lamp,  sound 
optics,  scanning  slit  (in  this  case  from 
12  to  14  microns  —  approximately 
0.000468  to  0.000546  inch — wide),  and 
photocell  pickup.  The  speed  of  the  film 
past  the  scanning  slit  (and  also,  of 
course,  past  the  cutting  stylus),  since  it 
is  not  limited  by  picture  requirements, 
has  been  set  at  320mm.  per  second  (a 
little  more  than  63  feet  per  minute), 
which  makes  a  reel  last  about  30  per 
cent  longer  than  if  run  at  standard 
sound  picture  sjjeed  of  90  feet  per  min- 
ute. This  speed  was  chosen  for  the  sake 
of  economy,  after  tests  had  shown  that 
it  was  capable  of  resolution  of  pitch  of 
the  order  of  Sooo  cycles  per  second. 

Units  which  were  built  for  use  in 
European  studios  embodied  dual  combi- 
nation recorder-reproducer  machines. 
With  such  a  unit,  a  program  can  be 


scored,  then  reproduced  immediately  af- 
terward, with  suitable  music  or  effects 
mixed  from  the  second  machine.  Parts 
of  a  speech  or  other  program  can  be  de- 
leted or  placed  in  different  order  by  the 
usual  process  of  film  editing;  by  the 
same  token,  any  music  or  effect  contin- 
uity may  be  accomplished  by  editing  in- 
stead of  recording.  The  film  is  moved 
through  the  machine  by  a  sprocketless 
drive;  by  eliminating  sprockets,  the  sys- 
tem abolishes  annoying  "96-cycle"  dis- 
tortion introduced  by  improper  mesh- 
ing (of  sprocket  teeth  with  the  perfor- 
ations) resulting  from  film  shrinkage  or 
other  causes. 

The  second  mechanically  recorded 
film  system  was  first  used  on  a  large 
scale  by  the  Soviet  government  while 
producing  propaganda  films  in  undevel- 
oped sections  of  Russia  a  few  years  ago; 
since  then,  it  has  been  introduced  to 
amateur  movie  makers  in  this  country 
by  at  least  one  manufacturer.  The  Rus- 
sian engineers  were  forced  into  use  of 
such  a  system  by  the  problem  of  record- 
ing sound  in  areas  far  removed  from  the 
nearest  photographic  laboratory.  In  ef- 
fect, the  Russian  method  does  not  differ 
greatly  from  the  principles  of  disc  re- 
cording, except  that  the  medium  used  is 
standard  35mm.  film  rather  than  disc. 
The  record  is  indented  in  the  surface  of 
the  film  base  by  a  needle,  and  the  same 
unit  can  be  used  for  playback  imme- 
diately after  recording.  Great  success 
has  been  reported  on  the  production  of 
location  pictures  otherwise  almost  im- 
possibel  to  make,  and  synchronization 
has   been   accomplished  successfully 


HOME  MOVIES  FOR  AUGUST 


PAGE  323 


through  recording  and  reproducing  on 
machines  running  in  interlock  with  the 
camera  or  projector. 

The  system,  as  used  in  this  country, 
consists  of  an  inexpensive  unit  taking 
regular  i6mm.  safety  film.  Normally, 
blank  film  is  used,  and  a  manual  shift- 
ing device  locates  a  sapphire  cutting 
needle  over  the  film  in  such  a  manner 
that  28  sound  tracks  may  be  indented 
side  by  side  across  the  width  of  the  film. 
The  unit  may  be  run  at  speeds  anywhere 
from  24  to  36  feet  per  minute.  Repro- 
ducing is  accomplished  by  a  customary 
p'ckup  needle,  and  the  sound  fed  througli 
standard  amplifying  and  speaker  equip 
:  1  nt. 

For  use  with  i6mm.  home  movies, 
the  track  may  be  indented  close  to  th: 
sprocket  holes  of  the  exposed  and  pro- 
cessed picture  film,  in  which  case  the 
sound  obviously  must  be  separated  from 
its  corresponding  picture  by  an  appro 
priate  distance,  as  in  other  combined 
sound  and  picture  films.  Used  in  such  a 
manner,  the  recorder-reproducer  acts 
merely  as  a  sound  head  attachment  to 
the  picture  projector.  In  the  case  of 
8mm.  home  movies,  the  sound  cannot 
be  recorded  on  the  picture  film  because 
of  the  slow  speed  at  which  the  film 
moves  through  the  projector;  approxi- 
mate synchronization  is  obtained  by  re- 
cording and  reproducing  at  a  sound  film 
speed  greater  than  that  of  the  picture 
projection.  The  manufacturers  of  this 
equipment  claim  that  playbacks  may  be 
made  "hundreds  of  times"  without  ap 
preciable  loss  of  quality. 

In  both  these  mechanical  recording 
sj'stems  there  are  obvious  disadvantages 
luch  as  the  necessity  ior  rc  rccord'ng  if 
more  than  one  copy  is  desired,  and,  in 
the  case  of  the  Russian  system,  the  abra- 
sion of  the  track  by  the  reproducing 
n?edle.  However,  both  systems  posses: 
definite  advantages  over  photographic 
sound  films  and  discs:  the  Russian  sys- 
tem can  utilize  waste  motion  picture 
film  entirely  satisfactorily,  which  re- 
sults in  negligible  operating  cost;  the 
Philimil  system  produces  practically  no 
wear  whatever  cn  the  fil*i  during  re- 
production, because  of  its  use  of  light 
beam  scanning;  both  systems  enjoy  free- 
dom from  the  bugaboos  of  complex 
processing  machinery,  gamma  and  gran- 
ularity, recording  time  I  mitations  of 
even  16-inch  discs,  and  sprocket  hole 
modulaticns. 

In  all  of  these  aspects,  mechanical  re- 
cording of  sound  on  film  seems  to  face 
a  bright  future  in  the  post-war  world, 
when  a  more  general  and  inexpensive 
method  of  producing  sound  for  home 
mov.es  is  certain  to  develop. 


All  operarions  performed  by  precise  gears 

"At  Positive  locks  on  tilt  and  pan  mechanisms 

"At  Fits  all  tripods 

"lAr  Ultra  modem  in  design 

GEARMASTER  brings  new  efficiency 
to  all  picture  making 

Fully  guaranteed.  Write  for  literature,  and  see  your 
favorite  dealer.  If  he  cannot  supply,  order  from  us. 

AMERICAN  BOLEX  CO.,  Inc, 

155  E.  44th  St.  New  York,  N.  Y. 


$1750 


TAX  INCLUDED 

No  protruding  handle  to 
interfere  with  making  the 
picture  by  keeping  you  away 
from  your  camera.  Movie  makers 
will  marvel  at  the  simplicity  of 
making  geared  panorama  shots  by 
simply  turning  the  pan  crank.  Still 
camera  owners  will  appreciate  being 
able  to  get  to  their  range  and  view 
finders  without  interference  from 
a  protruding  handle. 

IVesternRepresentative-.Frank/i.EmmetCo. 
270/  W.  Pico  St.,  Los  Angeles,  Calif. 


Have  Vou  Tried 
Du  Pont  IB  mm  Films? 


Use  them  for  all  speed  and  light  conditions 

Make  the  kind  of  movi9s  you've  always  wanted  with  this 
"all-purpose"  pair  of  films,  with  the  advantages  of  speed 
—  wide  exposure  latitude  —  economy  and  permanence. 


SUPERIOR  PAN  (high  speed  reversal).  A 
professional  film  for  personal  movies.  Does 
a  beautiful  job  indoors  or  out.  Superb  for 
special  effects,  night  shots  and  all  subjects 
with  poor  lighting.  A  real  "buy"  ct  $6.40 
per  hundred  feet,  v/ith  processing  (Wesion 
—  100  day— 80  maz.). 

REGULAR  PAN  (standard  speed  reversal). 
The  all-purpose  economy  film  for  outdoor 
use.  Wide  latitude  makes  if  easy  to  use. 
Its  brilliant  gradation  adds  sparkle  to  your 
movies.  $4.80  per  hundred  feet,  v/ith  proc- 
essing (Weston  1  2-8). 


E.  I.  DU  PONT  DE  NEMOURS  &  CO.  (INC.) 
Photo  Products  Department 
Wilmington,  Delaware 


PACE  324 


HOME  MOVIES  FOR  AUGUST 


8mm.    QUALITY  BULK  FILM  16mm. 

SUPER  CINEPAN  REVERSAL— Cnicored. 
Speed  24-16 — Lavender  Non-Halation  Base. 

Dbl.   S— 33   ft.    $1.30;   100   ft.   $3.60;   400  ft. 

$12.95;  Sgl.  8 — 33  ft.  80c;  100  ft.  $2.00;  400 

ft.  $7.20;  l*)mm.— 100  ft.  $3.50;  400  ft.  $12.60. 
SUPER  CINEPAN  PLUS  REVERSAL— rcscored. 
Speed  64-40 — Lavender  Non-Halation  Base. 

Dbl.  8 — 33    ft.    $1.50;    100   ft.    $4.00;   400  ft. 

$14.40;  SgL  3—33  ft.  $1.00;  100  ft.  $2.25:  400 

ft.  $S.10:  lenun.— 100  ft.  $3.85;  400  ft.  $13.85. 
CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  S-2.  Cnscored  Lavender  Non-Halation  Base. 

Dbl.  S— 33  ft.  SOc;  100  ft.  $1.85;  400  ft.  $6.50; 

SgL  S— 33  ft.  55c;  100  ft.  $1.20;  400  ft.  $4.25; 

16iiim.— 100  ft.  $1.60;  400  ft.  $6.00. 
CINE-KODAK  POSITIVE  TITLE  FILM— Vnscored. 
Speed  6  in.  Photoflood  Light.  Laborator;  Packed. 

DbL  8—33  ft.  65c;  100  ft.  $1.45;  400  ft.  $5.00; 

SgL  g — 33  ft.  45«;  100  ft.  $1.00;  400  ft.  $3.50; 

16imn.  100  ft.  $1.10;  400  ft.  $4.40. 
Clear,  Piirplehaie,  Yellow,  Bed.  Amber,  Special  Blue 
— Also  DuPont  Lavender,  Light  Amb«r.  Smm  Pint 
CAMERA  SPOOLS  WITH  CANS— Each 

Keystone  Dble.   8_$  .40    Tnivei   Sgle.    8   .15 

Eastman    Dbl.    8_    .50    Kejstone  Sgle.  g  $  .40 

Dbl.  Smm.  Not  E.  K.  Make.  Fits  all  cameras  40 

EXTRA  CANS,  Double  8  and  Single  8  size   .05 

100  ft.  and  50  ft.  16mm.  size.   _  .10 

Complete  Reversal  and  Title  Instmctions  Free  with 
Film  Orders.  Separately  50c.  Cash,  Check  or  M.  O. 
for  Quick  service.  Deposit  $1.00  required  with  C.O.D. 
orders.  Special  Delivery  25c;  Air  Mail  $1.00  Extra. 
Overpayments  refunded  or  credited.  No  stamps,  please. 
MISCELLANEOUS 

BAT.A  Precision  AU-Metal  Smm.  Film  Slitter  $2.75 

FOTOFADE  DTE  for  making  Chemical  Fades..  1.25 

FOTOFADE  WIPE-OFF  TAPE,  per  roll   .60 

CINETrXTS,  Set  6  Colors  with  Instmctions-..^  3.25 

DuPONT  VISCOSE  SPONGES,  each   .35 

HOitE  MOTTES.  Back  Issues,  1937-38   .15 

Net  all  months  In  any  year.  1940-41-42   .30 

TITLE  DETZLOPEB,  tubes,  each  make  16  oz._  .15 

Our  lists,  handy  lens  tissue  „   .10 

KODACHBOME   TBATEL  FILMS— 8-16mm. 
TRAVEL  FILMS — .?-lfimm. 

Deposit  51  re<!uir?d  for  CO  D.'s    Phone  Lincoln  1207 

W.   STUART  BUSSEY   FILM  LAB. 

17  E.  ST.  JOSEPH  ST.        INDIANAPOLIS.  IND. 


SOMETHING  NEW 

16mm  -  PICTOREELS  -  Sound 
3  Minute  Musical  Playlets 


Featuring  stars  of  Broadway  and  Hollywood  In 
popular  songs,  dan:es  and  music.  Gertrude 
Niesen,  Rudy  Vallee,  Tomnny  Tucker,  Four  Merry 
Men  and  many  others.  Tuneful  and  entertaining. 


12  ASSORTED  SUBJECTS 

Ask  ynur  local   iealer     r  wr 


LIST  $6.75  EACH 

direct  for  fuU  list. 


PICTORIAL  FILMS,  Inc. 

RKO  Building  Radio  City,  New  Yorit 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   and  Professional 
1 6inm   —  Smm 
Black   &    While.   Tinted   and  KoWachrome 
Write  for  oar  new  illa  =  craled  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York,  N.  Y. 


Reversible  Film,  100  Ft  SI. 95 

Smm.  Double,  25  Ft   ....$1.50 

PRICES   INCLUDE  PROCESSING 
Silly    Symphonies,    Charlie    Chaplin    and  other 
features  at  IHt  per  f'Wt  for  complete  subject. 
Write  t'5day  for  our  ea:a!Tiie  ^f  finished  subjects. 

STAR    SAFETY  FILM 

630  MiBt*  Ave.        Film  Center  Blda..  N.  Y. 


Cxpoiute  witit  ^ilteti  .  .  . 
w 

WW  HEX  using  filters,  it  becomes  necessary  to  open  up  the  lens  to  compen- 
sate for  the  light  held  back  by  the  filter.  Just  how  much  is  often  a  problem.  This 
can  be  determined  accurately  by  the  "factor"  of  the  filter.  Factors  of  popular 
filters  in  relation  to  the  various  films  are  shown  below.  The  next  chart  shows  how 
to  calculate  quickly  the  correct  exposure  when  liie  filter  factor  is  known.  For  ex- 
ample: if  light  meter  indicates  normal  exposure  as  f  8,  correct  exposure  in  combi- 
nation with,  say,  Dupont  regular  pan  film  that  gives  a  2.5  factor,  would  be  f/5.1. 


New  8mm. 
HOLLYWOOD 
FILM 

Going  Like  Wildfire 

Price   includes  luaranteed  machine  proeeuinf. 

AMBERTINT    $1.25  , 

A  practical  every-day  film  for  outdoors.  Fineffraln, 

scmi-ortho,  wide  latitude.  : 

OUTDOOR    $1.25 

Ei:ei;e.n:  outdoor  film  with  enough  speed  for  | 
almost  all  conditions.  Wide  latitude. 

California  Customers  Include  Sales  Tax 

HOLLYWOODLAND  STUDIOS 

SOUTH   GATE  CALIFORNIA 


FILTER  FACTORS  FOR  POPULAR  SMM.  AND  16MM.  REVERSAL  CINE  FILMS 


Cine  Kodak  "8"  


Cine  Kodak  "8"  Super  X.... 


Cine  Kodak  "S"  Safety_ 


Cine  Kodak  "S"  Super  X  


Cine  Kodak  "8"  Super  XT 


Agfa  ISmm.  Plenachront- 


Agfa  ISmm.  Fanchiomatlc. 


Agfa  16min.  Triple  "S"  Pan_ 


Agfa  16mni.  Hypan... 


Agfa  16inm.  Twin-t  HTpin- 


Gevaert  Panchro  Super_ 


Geraert  Panchro  MicrograiL. 


Gevatrt  Orthochromatlc- 


Dupont  Begular  Pan  


Filtar 

De- 
scription: 


Daylight 


Daylight 
Maida 


Daylight 
Maida 


Daylight 
Maida 


Daylight 
Mazda 


Daylight 
Maida 


Daylight 
Maida 


Daylight 
Maida 


Daylight 
Maida 


Daylight 
Masda 


Daylight 
Masda 


Daylight 
Maada 


Daylight 
Maida 


Daylight 
Maida 


K-1 

Light 
YeUow 


15 
15 


2. 
15 


1.5 
12 


1.5 
15 


15 

12 


1.4 
1.4 


1.4 
1.4 


2. 
1.4 


K-2 


Medium 
Yellow 


2. 
15 


2. 
1  4 


2. 
1.4 


2.5 


K-3     Aera  1    Aero  2  I  G 

■  Light  Medium 
Dark  YeUow-  YeUow- 
Yellow   Green    Green  Orange 


2. 
15 


2.8 
2 


2.8 
2. 


15 


2. 
15 


1.2 
12 


15 
12 


15 

1.2 


2. 
1.5 


2. 
1.5 


2. 
1.5 


2.8 


2.8 


3.2 


2  5 

2. 


23-A 

Light 
Red 


3. 
1.5 


6  3 


Kir.-O-Lus  16mm.  No.  3  


I  Daylight     2.      |  2. 


Kin-O-Lux  16mm.  G.S.  No.  3„ 


I  Daylight  1.6 


Kin-O-Lux  S  Smm.  No.  3  - 


Daylight 


Kin-O-Lui  S  Smm.  G.S.  No.  3   Daylight  1.6 


NOTE:  All  figures  are  approiimite.  Figures  such  as  2.2  may  be  considered  as  2.  and  1  25  as  1.50 
(or  IH),  and  etc. 


FILTER  FACTOR  COMPENSATOR 


Normal 

Exposure 
Without 
Filter 

FILTER    FACTOR  Nl 

J  MBERS 

1.5 

2. 

2  5 

3. 

4. 

5. 

6. 

8. 

to. 

12. 

f  ;  2.8 

2.3 

2. 

EXPOSURE  WITH 

FILTEI 

I 

J. 2 

2.8 

2  3 

2.2 

2. 

4. 

3  2 

2.8 

2  5 

2  3 

2 

4.5 

4. 

3  2 

3 

2.8 

2  3 

2.2 

2. 

5.S 

4  5 

4 

3  5 

3  2 

2.8 

2  5 

2  3 

2. 

6.3 

5  6 

4  5 

4.3 

4 

3  2 

3 

2.8 

2  3 

2  2 

2 

8. 

6.3 

5  6 

5  1 

4  5 

4 

3  5 

3  2 

2  8 

2  5 

2  3 

9.1 

8. 

6  3 

5  9 

5  6 

4  5 

4  3 

4. 

3  2 

3 

2  8 

M.3 

9  1 

8. 

7.2 

6.3 

5  6 

5  1 

4  5 

4 

3  5 

3  2 

12.5 

11  3 

9  1 

8  5 

8. 

6  3 

5  9 

5  6 

4  5 

4.3 

4. 

16. 

12  5 

11  3 

10 

9.1 

8. 

7  2 

6  3 

5  6 

4.1 

4.5 

22. 

18 

16. 

14. 

12  5 

11.5 

10 

9  1 

8. 

7.2 

6  3 

.32 

25 

22 

20 

IS 

16. 

14 

12  5 

11  3 

10 

9  I 

HOME  MOVIES  FOR  AUGUST 


PACE  325 


\  1l 

0 

an 

F 

Emblem  of  a  Friendly  Amateur 

Sponsored  exclusively  by  Home  Movies  Magazine,  the  REEL  FELLOWS  is  a 
friendly,  chummy,  coast-to-coast  organization  of  movie  amateurs  whose  purpose  is 
to  further  the  pleasure  of  amateur  movie  making  and  to  encourage  a  wider  and 
more  beneficial  contact  among  amateurs. 

If  you  shoot  Smm.  or  16mm.  movies,  or  if  you  are  interested  in  any  of  the 
aspects  of  amateur  movie  making,  you  are  invited  to  become  a  member  of  the 
REEL  FELLOWS.  $1.00  membership  fee  is  so  low  no  amateur  can  afford  not  to 
join.   Initial  membership  fee  is  all  you  pay. 

Wear  your  REEL  FELLOWS  pin  to  identify  you  wherever  you  go!  Upon 
receipt  of  your  membership  application,  you  will  receive  membership  card,  gold 
pin,  and  insignia  for  your  camera.  Be  the  first  in  your  community  to  join!  Fill 
out  the  REEL  FELLOWS  membership  application  below  and  send  it  in  immediately! 
Write  regarding  charter  for  REEL  FELLOWS  clubs. 

DETACH  HERE 


MEMBERSHIP  APPLICATION 

THE    REEL  FELLOWS 

REEL  FELLOWS 
c/o  Home  Movies 
6060  Sunset  Boulevard 
Hollywood,  Calif. 

1  am  enclosing  $1.00  membership  fee,  for  which  please  enroll  me  as  a  member  of  the  REEL  FELLOWS  and  send 
me  membership  card,  gold  pin,  and  camera  insignia. 

I  have  been  shooting  movies  (length  of  time)  

My  equipment  is:  Smm  16mm  

Name  

Address    

City  -  -  State    


PACE  326 


HOME  MOVIE«  FOR  AUGUST 


BACK  ISSUES 

HOME  MOVIES 
MAGAZINE 


A  limited  number  of  the  following  back 
issues  of  HOME  MOVIES  are  available  at  25c 
pier  copy  while  they  last.  All  Summer  months 
numbers,  they  contain  data  and  articles  espa- 
cially  valuable  at  this  time.  Description  of 
contents  of  each  number  follows: 

MAY  1941 

Why  Not  Make  a  Lecture  Film  

Home-Made  Automatic  Fader  for 
Keystone  Eight — Tips  on  Home  Re- 
versal of  Panchromatic  Film — How 
to  Make  Trick  Movies — How  to  Cen- 
ter Titles — Plot  is  the  Backbone  of 
Every  Movie — Theme  Music  for  Va- 
cation Movies — Parade  Films  Suc- 
cessful When  Carefully  Planned — 
"How  to  Make  It"  Ideas  on  a  New 
Title  Kink.  8mm.  Reverse  Action, 
Cleaning  Film  Gate,  Cement  Bottle 
Holder,  20-Cent  Range  Finder,  Cen- 
tering Close-Ups,  Lens  Shade,  Shoot- 
ing and  Editing  Record,  Simple  Ti- 
tle Letters,  Sound  Effects — Corrected 
Centering  Guide  for  Cine  Kodak  90 
Magazine  Eight. 

)UNE  1941 

Best  Vacation  Movies  are  Planned 
in  Advance — Scenery  Isn't  AU  There 
Is  to  Shoot — Bring  Back  a  Laugh  In 
Vacation  Movies — Summer  Time  Is 
Filter  Time — Music  Furnishes  Plot 
for  Outing  Film — Binocular  Cameras 
to  Patrol  Race  Tracks — Alaska  Calls 
the  Camera  Fan — Six  Factors  Af- 
fecting Success  of  Positive  Titles — 
"How  to  Make  It"  Ideas  on  Printer 
Conversion,  Low  Cost  Filters, 
Rangefinder  Club  Pilot  Light 
Switch.  Viewflnder  Mask,  Gadget  for 
Removing  Film  Spools,  Background 
Trick,  Colored  Titles,  Improved  Film 
Viewer,  Tripod  and  Head. 

JULY  1941 

Filmin<!  a  Documentary  of  the  Sea- 
sons— Map  Insscts  Add  Interest  to 
Travel  Films  —  Burlesauing  the 
Hometown  Travelo^;ue — A  Strobo- 
scope That  Synchronizes  Both  Pro- 
.iector  and  Turntables  —  Reaction 
.<?bot«  Keep  Your  Movie  "Movine" — 
Composition  TiDi  for  Summer  Film- 
in" — "How  to  MakP  It"  Details  on 
Home  Processing  Outfit.  Oxidation 
Preventive.  Filmviewer,  Pilot  Light, 
Camera-Pod. 

AUGUST  1941 

Timin<!.  the  Essense  of  all  Good  Mov- 
ies— Making  Movies  That  Pay  Their 
vies — Makin"?  Movies  That  Pay  Their 
Way — Add  Professional  Touch  With 
Novel  Transition  Sho*' — A  New  Idea 
for  Kiddie  Movies — How  to  Build  a 
Simple  Sound  Recorder — Design  for 
a  Wedding  Movie — "How  to  Make 
It"  Ideas  for  Trigger  Action  Iris, 
low  Cost  Titler,  Fading  Gadget, 
Splicer  Kink.  Table  Top  Tripod, 
Table  Top  Aiuarium,  Editing  Board, 
Ultra  Close-Ups. 

SEPTEMBER  1941 

School  Brines  New  Filming  Oppor- 
tunities— Radio  Serves  as  Amplifier 
for  Home  Recorders  —  Television 
Beckons  Ambitious  Cinefllmers — How 
to  Film  a  Movie  Within  a  Movie — 
How  to  Tell  How  Long  to  Press  the 
Exposure  Button — Don't  Leave  the 
"Movie"  Out  of  Your  Movies — "How 
to  Make  It"  Ideas  on  Safelight  Sup- 
port, Exposure  Meter  Tip,  Pocket 
Titler,  Filter  Case,  Editing  Aid.  Cine 
Trick,  Wrinkle-Proofer,  Lens  Shade. 

The  following  numbers  are  also  available: 
l940_May,  July,  September,  October,  Novem- 
ber, and  Dscember.  1941— October,  Novem- 
ber and  December.  1942— January,  February, 
March,  April.  May,  June  and  July. 

25c 

Per  Copy,  Poctpaid 

HOME  MOVIES 

6060  Sunset   Blvd.,   Hollywood,  Calif, 


yiir^.  Seely.  ^ilmA  a  hummer 


•  Continued  from  Page  }  i } 

scene  showing  a  "for  rent"  sign  hung 
on  the  vacated  nest. 

Clever  poetic  titles  do  much  to  bind 
the  bird  scenes  together  and  make  for 
f  aid  ccn.  nu.ty.  One  appears  in  the  se- 
ries of  frame  enlargements  reproduced 
here  and  shows  also,  the  attractive  com- 
position which  marked  each  title.  Text, 
printed  on  a  small  card,  was  placed  on 
a  colored  background  and  surrounded 
by  beech  leaves  as  a  decorative  motif — 
a  symbol  of  the  beech  tree  in  which  the 
birds  lived. 

This  review  of  the  picture  is  purpose- 
ly brief  to  allow  a  more  detailed  ac- 
count of  Mrs.  Seely's  activities  in  pro- 
ducing it.  For  to  fully  appreciate  "Ma- 
dame Hummer  At  Home,"  one  must 
also  appreciate  that  it  was  a  vast  under- 
taking for  a  woman  to  tackle  single 
handed.  Mrs.  Seely  developed  the  idea; 
filmed  the  picture;  built  "blinds"  which 
enabled  her  to  set  up  her  camera  within 
a  few  feet  of  the  nest  for  the  many  re- 
markable closeup  shots;  wrote  the  poem, 
verses  of  which  serve  as  titles;  composed 
and  filmed  the  titles;  edited  the  picture; 
and  then  arranged  the  musical  score. 

"Ever  since  I  completed  my  two  films 
on   robins,"  says  Mrs.   Seely,  "friends 


have  called  me  whenever  they  discov- 
ered other  bird's  nests,  and  urged  me  to 
film  them.  When  th;  challenge  came  to 
film  a  t'ny  hummingbird's  nest  twelve 
feet  above  the  ground,  and  the  three 
inch  bird  herself,  I  started  the  project 
with  somz  misgivings.  I  began  by  set- 
ting up  my  camera  as  near  to  the  nest 
as  possible — about  nine  feet  distant.  My 
first  shots  were  made  with  i  inch  and 
2  '/z  inch  lenses.  When  the  first  roll  of 
film  was  returned  from  the  laboratory 
nH  screecn;d,  the  nest  could  scarcely 
be  located  nor  was  focus  any  too  accur- 
ate in  spite  of  careful  measurement  with 
yardstick  each  time  camera  was  set  up. 

"It  was  then  I  decided  to  consult 
m.y  friend  at  the  camera  store,  and  I 
induced  him  to  loan  me  a  4-inch  tele- 
photo  lens.  This  enabled  me  successful- 
ly to  make  vivid  closeup  shots  of  the 
bird  and  its  nest,  all  well  centered  and 
sharply  focused  . 

"There  were  many  other  obstacles, 
baffling  at  the  start,  which  I  had  to 
overcome  one  by  one.  The  nest,  unfor- 
tunately was  so  concealed  that  little 
sun  reached  it  at  any  time,  and  this 
made  it  necessary  to  film  most  of  th? 
scenes  at  fy  3.5  or  f  1.9.  At  one  time  I 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  'The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  reiudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1941 

SEPTEMBER:  "Through  the  Window 
Pane,"  produced  by  Mrs.  Warner  Seely, 
Cleveland,  Ohio.  A  16mm  Kodachrome 
picture,  400  feet  in  length. 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  ).  0.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

NOVEMBER — No.  award. 

DECEMBER:  "Do  It  Again.  Harry," 
produced  by  Herman  Battel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 


by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Geurts,  Salt  Lake  City,  Utah.  A 
16mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch,"  pro- 
duced by  Roland  Ray,  Los  Angeles, 
Calif.  An  8mm.  picture,  400  feet  in 
length. 

MAY;  "Oliver  Twist,"  produced  by 
David  E.  Bradley,  Winnetka,  Illinois.  A 
16mm.  picture  approximately  4000 
feet  in  length. 

JUNE:  "A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  8mm.  Koda- 
chrome picture,  200  feet  in  length. 

JULY:  "White  Waters"  produced  by 
C.  A.  Willis,  Merced,  Calif.  A  16mm. 
Kodachrome  picture,  400  feet  in 
length. 

AUGUST:  "Madame  Hummer  At 
Home,"  produced  by  Mrs.  Warner 
Seely,  Cleveland.  Ohio.  A  16mm.  Kod- 
achrome picture.  800  feet  in  length. 


HOME  MOVIES  FOR  AUGUST 


PACE  327 


set  up  a  mirror  to  reflect  light  into  the 
nest,  but  the  intervals  of  waiting  for 
the  bird  to  return  were  so  long  that  in- 
variably the  sun  had  moved  consider- 
ably obliging  me  to  climb  down  from 
my  camera  position  and  adjust  the  mir- 
ror to  the  changing  light. 

"Madame  Hummer  indicated  early 
that  she  did  not  like  me  closer  to  the 
nest  than  nine  feet  so  I  decided  to  cam- 
ouflage myself  and  camera  with  pine 
boughs.  But  this  deception  failed  to 
fool  the  bird  and  I  decided  to  build  a 
"blind"  which  would  enable  me  to  get 
as  close  as  possible  to  the  nest  without 
having  to  perch  uncomfortably  for 
hours  in  the  branches  of  neighboring 
trees. 

"After  consulting  a  local  naturalist, 
an  odd-looking  but  sturdy  hideout  was 
constructed  using  two  tall  step  ladders, 
some  planks,  and  pieces  of  canvas. 
Strangely  enough,  the  bird  seemed  not 
the  least  concerned  with  this  grotesque 
contraption  which  suddenly  loomed  be- 
fore her  nest  one  day.  And  from  then 
on,  shooting  Madame  and  her  daily  nest- 
ing routine  was  simple  as  well  as  com- 
fortable. Between  shots,  I  relaxed  upon 
a  kitchen  stool,  wishing  for  a  cool 
breeze  or  the  bird's  early  return  to  the 
'set.'  Not  having  any  previous  knowl- 
edge of  the  life  of  tree-sitters  or  the  un- 
predictable antics  of  this  swift-flying 
and  seldom-at-home  bird,  I  must  have 
presented  a  ludicrous  sight  to  those  pass- 
ing by,  as  day  by  day  I  appeared  with 
all  kinds  of  paraphernalia,  only  to  dis- 
appear into  my  beech  tree  hideout! 

"Another  trial  was  the  heavy  wind 
that  invariable  blew  each  day  I  set  out 
to  film.  Later  I  discovered  how  to  tie 
the  branch  bearing  the  nest  to  a  pole 
driven  into  the  ground  below.  The  slow 
motion  shots  of  Madame  Hummer  were 
taken  at  a  feeding  station  located  25 
miles  from  Cleveland.  A  hummingbird's 


wings  beat  5  5  times  per  second  when 
"treading"  air  in  one  position;  75  times 
per  second  when  in  flight.  The  camera 
speed  of  64  frames  per  second  used  in 
making  these  slow  motion  shots  permits 
interesting  study  of  the  bird's  remark- 
able wing  action. 

"When  filming  of  the  birds  was  com- 
pleted, my  activities  next  were  directed 
to  making  the  titles.  I  sometimes  think 
I  devoted  more  time  and  thought  to  this 
phase  of  the  picture  than  it  deserved. 
Having  inquired  of  commercial  title 
makers  for  prices  on  titles,  I  decided  fi- 
nally to  make  them  myself.  I  planned  to 
create  a  title  which  would  suggest  the 
atmosphere  of  out-of-doors,  utilizing 
the  predominating  colors  in  the  scenes 
— green  and  brown. 

"I  had  a  printer  set  up  the  verses  in 
tj'pe  and  print  them  in  green  ink  on 
small  cards.  These  were  placed  over  a 
brown  background.  Green  beech  leaves 
and  brown  twigs  were  then  arranged 
about  the  cards  and  the  composition 
photographed  out-of-doors  under  sun- 
light. 

"Only  after  completing  my  picture 
did  I  come  across  Norman  Converse's 
book,  'Birds  and  Beasts — How  To  Film 
Them,'  and  noted  this  enlightening 
paragraph: 

Experience  in  this  kind  of  nature 
photography  is,  of  course,  a  great  help. 
But  in  general,  each  new  scene  or  se- 
quence in  nature  filming  presents  a  new 
and  different  problem,  and  no  two  solu- 
tions are  arrived  at  in  quite  the  same 
way.  .  .  .  One  should  be  a  well-informed 
naturalist,  a  person  of  infinite  patience, 
and  finally,  a  combination  of  mechanic, 
psychologist,  artist  and  movie  maker. 
That's  a  big  order  for  any  one  man.  .  .  . 
My  suggestion  is  to  try  and  get  a  friend 
to  work  with  you.' 

"And  how  I  wished,  and  often,  foi 
just  such  a  friend!" 


lAJUat  to  know  about  editing. 


•  Continued  from  Page  3  17 

Seemann  Editeer,  provides  a  series  of 
film  recesses  in  the  board  on  which  the 
splicer  and  rewinds  are  mounted. 

Almost  every  month,  in  the  Experi- 
mental Cine  Workshop  department  of 
this  magazine,  some  amateur's  home 
made  editing  device  is  illustrated  and 
described.  The  most  recent,  all  of  which 
you  can  easily  duplicate,  appear  on 
page  279,  July  issue;  page  239,  June 
issue;  page  151,  April  issue;  and  page 
20  of  the  January  issue.  The  last  is  an 
adaptation  of  the  system  used  by  Hol- 
lywood film  cutters.  The  usual  studio 
cutter  has  a  large  cloth  bag  hung  on  a 
hoop  support  attached  to  his  table.  The 
film  strips  are  dropped  into  this  bag  and 
the  ends  secured  to  rim  of  bag  by  means 


of  clips,  spring  clothes  pins,  or  hooks. 
This  method  is  preferred  because  it  elim- 
inates the  time-wasting  procedure  of 
rolling  each  strip  into  a  coil;  also  it  re- 
duces possibility  of  scratching  film  to 
a  minimum. 

Regardless  of  the  system  adopted,  it 
is  important  to  label  each  clip,  box  or 
recess  holding  the  strips  with  a  number 
for  identification  of  the  scenes  without 
need  for  uncoiling  them  for  re-inspec- 
tion. With  such  equipment  at  hand,  you 
are  ready  to  tackle  the  fascinating  task 
of  editing  movies  more  successfully. 

Obviously  the  first  step  in  editing, 
is  to  project  the  film  several  times, 
studying  the  material  as  it  appears  on 


•    Make  Editing  a  Pleasure  • 

EDIT  THE  CRAIG  WAY! 


Craig  Projecto-Editors 

Action-edit  your  movies  in  the  professional, 
Hollywood  manner  with  a  CRAIG  Projccto- 
Ediior.  This  versatile  outfit  permits  careful 
inspection,  slow-motion  if  desired,  of  actual 
smoothly-animated  motion  on  its  brilliant 
miniature  screen.  Use  it  to  transform  ran- 
dom "shots"  into  smooth-running  sequences 
that  everyone  will  enjoy  seeing. 

8mm.  model,  as  illustrated  above,  complete  with 

Junior  Splicer.  Rewinds  and  film  cement  $37.50 

8mm.  Projecto-Editor  alone  $29.50 

16mm.  model  with  Senior  Splicer  and  Rewinds  $59.50 


Craig  8  &  16mm.  Senior  Splicer 

Makes  perfect,  straight,  professional-like  dry 
splices  .  .  .  quickly,  accurately,  and  without 
wetting  film.  Only  four  simple  operations  re- 
quired. For  Sound  or  Silent,  $10.95> 

— AT  ALL  DEALERS — 


Write  for  Illustrated  Folder 


CRAIG  MOVIE  SUPPLY  CO. 


• 


1053  SOUTH  OLIVE  STREET 
LOS  ANGELES,  CALIFORNIA 


FOR  PRINTS 


A  Real  Gift  for  a  Friend  or  Yourself 

Popular  bookshelf  size.  Multiple  ring, 
loose  leaf  binding.  Lays  flat  when  open. 
Simulated  leather  binding  In  blue, 
green,  maroon  or  black.  Attractively 
decorated  backs.    Size  SVs  x  6%  x  I'A'. 

Double  Window  Acetate 
Covered  Mounts 

Add  glamor  to  Kodacolor  and  other 
prints — protect  from  finger  marks,  dust 
and  dirt. 

No.  400-FI5  Album  with  15  white  paper 
each  with  acetate  covering.  For  prints  up 
$1.75. 

No.  400-v36  Album   with   27  white   paper  mounts, 
with  acetate  coverings.  May  be  arranged  in  visible 
(overlapping)  style.  For  prints  up  to        x  5",  $1.75. 
AT  STORES  OR  SENT  DIRECT  PREPAID  ON 
10  DAYS  MONEY-BACK  TRIAL 
Write  for   Folder  on  Amfiles  for   Movie   .Reels.  Slides, 
Miniature  and  Flat  Negatives,  etc. 


AMBERG  FILE  &  INDEX  CO.  ISi^lS^i'Xoii 


PAGE  328 


HOME  MOVIES  FOR  AUGUST 


New  Harrison  Duraline 
MOVIE  FILTERS  and  KITS 


New  SCREW-IN  TYPE  MOrNTED  FILTEBS  to  fit 
all  SmiD.  cameras  haTing  Wollensak  l.S  and  3.5  lens«s, 
including  Keystone,  Bell  &  Hoirell.  Perfei  and  ReTere. 
Single  filters  list  at  $2.30  each.  Kits,  containing  two 
filters — Kodachrome  Haze  and  C-1  (fer  use  wiUi  typ« 
"A"  Kodachreae  in  dayliiht) — a  Snap-on  Shade  and 
Filler-fold  CaK  as  at>jve  list  at  $3.30. 

AT  ALL  DEALERS— WRITE  FOR  FOLDER 

HARRISON  &  HARRISON 

Octical  Ensineers 
B33I  Santa  Monica  Boulevard        Hollywood.  California 


NOW!!!  Spend  less  to  own  and  opertte  your 
moiie  camera — Load  uith 

ONYX  MOVIE  FILM 

O.VYX      ONYX  ONYX 
«  24      Bi. Speed 

100  ft.  16  $2,25    $4.25  $4.75 

25  ft.  8  8   1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

EATINGS  — 8-24-50  for  Daylight 
B«Ter»ai  Preceesinr  Fre«  of  Cfauce. 

Write  for  price  list  of  other  ty pes  of  film  and 
chemicals  for  home  processirtg. 
KENWOOD  FILMS 

818  E,  4:th  St.  CHICAGO.  HX. 


AT  YOUR   FAVORITE   CAMERA  STORE 

PROTECT 

Your  Slides 

New  Low-Priced 

SLIDE  FILES 

Holds  100  2"x2'  si  ces  i  ;tn  'umbtred  ;ncei  on  cover, 
la  Brown, and  Black,  $1.85.  DeLuie  3-voluine  Library 
Series  (illustrated)  holds  300  slides.  Removable  index. 
Indudes  a  carrying  case  with  swivel  hinge  front  cover, 
complete,  $9.00.  De  Luie  Files,  $2.25  each.  Carrying 
Case  only.  $3.00  each.         Write  /lyr  liejcripsite  circular. 

WESTERN  MOVIE  SUPPIY  CO.  254  Sutter  St.,  San  Fran<>s<o 


the  screen  and  planning  how  best  to  re- 
arrange it  and  where  to  cut  in  titles. 
Ample  notes  should  be  written,  as  the 
film  is  projected,  as  a  guide  to  cutting 
\  and  editing. 

j  This  done,  the  film  is  then  taken  to 
j  the  editing  board  and  such  scenes,  as 
I  are  necessary'  to  shorten  or  re-arrange, 
are  cut  out  and  placed  on  the  rack  pro- 
■\ided.  Each  scene  is  identified  by  the 
number  on  the  box,  hook,  clip,  or  what- 
ever means  is  used  to  hold  it,  and  a  de- 
scription of  the  scene  noted  on  paper 
or  on  the  script  used  as  a  guide  to  edit- 
ing. With  the  average  family  film,  this 
procedure  will  be  rather  limited,  being 
confined  to  trimming  bad,  over-  or  un- 
der-exposed scenes,  and  re-arranging 
closeups  in  their  proper  places. 

With  more  pretentious  scenario  mov- 
ies, this  breaking  down  procedure  be- 
comes an  impKjrtant  preliminary  task, 
and  practically  ever}-  scene  must  be 
cut  out  and  placed  in  proper  order  for 
editing  after  it  has  been  inspected,  and 
cut  for  length. 

Beyond  this  point,  it  becomes  neces- 
sary' for  the  amateur  to  rely  solely  upon 
his  script  or  his  original  idea  to  guide 
him  in  editing  his  scenes  into  a  com- 
posite, screenable  movie.  The  action  at 
hand  must  determine  just  where  to  cut 
a  medium  or  long  shot  in  order  to  in- 
sert a  closeup  of  the  action  or  a  reac- 
tion shot;  or  where  to  insert  a  title  for 
best  possible  effect. 

In  scenarios,  climactic  action  should 
be  amplified  by  shortening  of  scenes  as 
the  climax  is  approached.  If  this  is  not 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 
BEEN'DT-M.itTtER  KECORDER 

CEO.  W.  COLBURN  LABORATORY 

M5.A   Merchandis*  Mart  CHICAGO 


PB   MOVIE   FILTER   KIT   FOR  COLORFILM 
REVERE 

Including  I  Screw-in-Sunshade,  I  Haze  Rlter, 
I  Type  A  filter.  I  Pouch,  tf^ 

complete. .      . 

Fr*a   All   Leadiif   Caaera  Dealers  »r 

PONDER  fir  BEST 

1015  SO.   GRAND   AVE      LOS  ANGELES.  CALIF. 


PtootognpfaT  Blade  easj  at  oldest, 
largest  MtaooL  Qualify  imda'  fall 
time  experts  for  ooce-in-a-life- 
tine  opfMrtonlties.  U.  S.  Tietocy 
pneran  nrelling  demand  for 
phMograpbers.  Resident  or  home 
study  courses.  Bookie:  FBEE. 
N.  Y.  lastitute  ef  Photography, 
Dept.  114.  10  West  S3  St.,  Ne* 
York.  N.  Y.  i32nd  Year;, 


done,  the  suspense  originally  intended  to 
be  built  up  at  this  point,  fails  to  mate- 
rialize. 

In  movies  of  travels,  vacations,  and 
around -t he-home  subjects,  there  is  the 
usual  tendency  among  beginners  to  al- 
low scenes  to  run  too  long.  Cut  these 
scenes  abruptly  as  the  action  within 
them  ends. 

Cutting  in  of  spoken  titles  is  another 
stumbling  block  for  many  amateurs 
who  usually  insert  the  title  before  the 
subject  has  begun  to  speak.  Properly 
done,  a  spoken  title  should  be  cut  in 
about  five  or  six  frames  after  the  sub- 
ject appears  to  speak,  and  all  but  the 
last  five  frames  showing  subject  com- 
pleting the  speech  should  be  deleted 
entirely.  In  other  words,  all  that  is 
necessary  is  to  show  subject  beginning 
to  speak  before  title  appears,  and  speak- 
ing the  last  word  or  two,  after  the  title 
appears.  Xor  is  this  last  practice  always 
followed.  In  dramatic  action,  the  cut- 
back to  the  speaker  is  eliminated  entire- 
ly and  a  direct  cut  made  to  the  person 
spoken  to,  to  show  his  or  her  reaction  to 
what  has  been  said. 

And  now  a  final  word  about  titling, 
about  which  there  will  be  more  next 
month.  The  titles  are  an  important  con- 
sideration in  the  task  of  editing.  Even 
though  they  have  not  been  prepared,  the 
picture  should  be  cut  and  edited  with 
the  titles  in  mind.  It  is  advisable  in  most 
cases  to  leave  the  cutting-in  of  titles  go 
until  the  very  last,  as  further  re-editing 
of  a  picture  may  require  additional  titles 
or  the  elimination  of  some  originally 
planned. 


Single-frame  release  .  .  . 


•  Continued  from  Page  }l6 

volving  cycle  and  coming  to  stop  against 
the  rod. 

^'Tien  the  hole  is  properly  located  in 
the  inside  case,  a  corresponding  hole 
must  be  drilled  in  the  outside  case.  This 
is  best  done  by  using  the  two  screw 
holes,  A  and  B,  as  centers  from  which 
a  radius  is  swung  to  intersect  the  cen- 
ter of  the  hole  on  the  inner  case.  Then 
p  ith  outside  case  placed  on  the  camera, 
the  same  radius  is  used  to  locate  the  hole 
at  the  intersections.  Radius  may  be 
swung  with  a  pair  of  dividers,  a  draw- 
ing compass  or  a  piece  of  string  with 
pencil  attached.  But  great  care  must 
be  exercised  to  insure  drilling  holes  in 
inner  and  outer  cases  in  alignment  with 
one  another.  Extreme  care  should  also 
be  used  to  make  sure  none  of  the  metal 
shavings  from  drilling  operations  get 
into  the  camera  mechanism,  otherwise 
serious  trouble  will  result. 

Vhen  the  outer  case  is  replaced,  a 
piece  of  Xo.  40  drill  rod  is  inserted  in 
the  holes  and  cut,  so  that  when  it  is 


against  the  stop  and  start  gear  it  will 
extend  one  inch  outside  the  camera  case. 
A  suitable  handle  for  this  rod  is  made 
from  a  short  piece  of  the  Y^"  wood 
dowel  cut  I  Yz"  in  length.  This  is  round- 
ec  at  one  end  then  a  hole  drilled  through 
the  center  at  the  other  end  to  enable 
placing  it  over  the  wire  rod.  A  No.  45 
driU  may  be  used  for  this.  Wlien  hole 
ii  drilled,  the  rod  may  be  forced  into 
the  hole  where  it  will  remain  securely 
without  need  for  glueing. 

Inasmuch  as  this  single-frame  con- 
trol pin  cannot  be  permanently  an- 
chored in  operating  position,  it  may 
easily  be  lost  through  careless  handling. 
Best  preventive  measure  is  to  drill  small 
pin  hole  through  end  of  handle  and  in- 
sert small  cord  by  which  rod  may  be 
secured  to  camera  winding  key  or  looped 
over  the  lens  for  safety. 


PffOTOGRAPHY 


HOME  MOVIES  FOR  /.UCUST 


PACE  329 


eview^  .  .  . 


•  Continued  from  Page  307 

the  camera  considerably  farther  back, 
filming  the  group  of  children  so  they 
would  look  considerably  smaller.  Best 
shot  was  that  where  Teeny  Tots  appear 
to  be  romping  about  in  palm  of  child's 
hand.  The  story  ends  with  child  awak- 
ening the  next  morning  and  making 
ready  for  school. 

An  important  criticism  is  that  titling 
was  poorly  executed.  Camera  was  not 
caret  ully  centered  on  title  cards.  Also, 
in  the  double  exposed  shots,  perspective 
was  not  true.  And  we  would  suggest 
cutting  down  on  the  footage  allowed 
the  opening  sequence  of  mother  and 
child  as  the  trick  sequences  are  the  meat 
of  the  story. 

Another  criticism  concerns  editing. 
Frequently  the  camera  moves  from  a 
medium  to  a  closeup  shot,  then  back  to 
medium  shot.  This  occurs  too  often 
and  without  any  logical  reason.  Further 
editing,  however,  will  correct  this  fault. 


Colorado,"  400  feet  of  8mm.  Ko- 


ARMY    SIGNAL    CORPS  WANTS 
35MM.  CAMERAS  &  LENSES 

Cameras  and  lenses  for  3jmm.  motion 
picture  cameras  are  urgently  needed  by 
the  Army,  and  the  public  has  been  in- 
vited to  sell  any  they  possess  to  the 
Government,  the  War  Department  an- 
nounced today. 

Cameras  required  are  the  Mitchell, 
Standard  NC  or  BNC  models;  Bell  and 
Howell  standard  rack-over  type;  Bell 
and  Howell  Eyemo  Spider  Turret,  motor 
driven,  adapted  for  magazines;  and  Bell 
and  Howell  Eyemo  cameras  with  com- 
pact turret  type  adapted  for  magazine 
motors.  Matte  boxes,  magazines,  and 
accessories  for  these  cameras  are  desired 
wherever  available. 

Lenses  required  are  the  25  mm.,  35  mm., 
40mm.,  50mm.,  75mm.,  105mm., 
153mm.,  200mm.,  300mm.,  suitable  for 
use  on  the  Mitchell  or  the  Bell  and  How- 
ell Eyemo  professional  35  mm.,  motion 
picture  cameras.  Among  the  lenses  need- 
ed for  the  Eyemo  are  the  Cook  Kinic 
F/2.3  and  F/2.8  and  the  Taylor-Hobson 
Cooke  F/2  and  F/2.5. 

Lenses  required  for  use  on  the  Mitchell 
and  Bell  and  Howell  cameras  are  the 
Carl  Zeiss  Tessar  F/2. 7  Zeiss  Biotar  F/ 1.4 
or  F/2  and  Sonar  F/1.5  or  F/2;  Taylor 
Hobson  Cook  Speed  Panchro  F/2.5  or 
F/3.5;  and  Telephoto  F/2.5,  F/3-5;  and 
Astro  Pan  Tachar  F/1.8  or  F/2.3  and 
Steinheil  F/2.5  or  F/2.8. 

Owners  of  35mm.  cameras  and  35mm. 
lenses  of  these  types  are  requested  to  send 
a  full  description  of  them  to: 
The  Purchase  Board, 
Signal  Corps  Photographic  Center, 
35-11  35th  Avenue, 
Long  Island  City,  New  York 

The  equipment  should  be  described  in 
detail,  giving  age  and  condition  and  the 
price  expected.  Equipment  will  be  tested 
by  the  Army  for  condition  and  service- 
ability before  purchase. 


dachrome,  was  produced  by  Edward  C. 
Miller,  St.  Louis,  Mo.  It  is  the  custom- 
ary vacation  documentary  depicting 
scenes  and  points  of  interest  visited  by 
the  filmer.  It  also  has  the  customary 
fault  of  many  vacation  films  in  that 
scenes  are  far  too  lengthy,  particularly 
where  the  scene  contained  no  action. 
Many  amateurs,  of  course,  once  they 
film  a  scene,  hate  to  trim  even  a  single 
frame.  Somehow  they  like  to  look  at 
every  inch  of  film  they  have  exposed. 
But  from  the  viewpoint  of  outside  audi- 
ences of  friends,  etc.,  the  picture  must 
be  carefully  cut  if  it  is  to  prove  as  in- 
teresting to  them  as  it  is  to  the  maker. 

Another  fault  with  this  picture  was 
that  many  of  the  titles  were  improperly 
cut  in.  Frequently  a  title  would  appear 
announcing  a  point  of  interest,  as  for 
instance,  "The  Will  Rogers  Memorial;" 
but  two  scenes  intervene  before  the 
memorial  is  shown.  Titles  should  im- 
mediately precede  the  scene  they  de- 
scribe or  refer  to. 

The  picture  opens  with  several  shots 
of  a  sunrise,  and  closes  with  an  equal 
number  of  shots  of  a  sunset.  The  repe- 
tition of  shots  spoil  the  effect.  It  is  far 
more  impressive  to  make  a  fairly  lengthy 
shot  of  a  sunrise  or  sunset  and  use  the 
one  shot  alone. 

Mr.  Miller  is  to  be  commended,  how- 
ever, for  his  efforts  in  producing  a  film 
of  major  length,  and  we  are  certain  he 
will  profit  from  the  suggestions  con- 
tained in  the  criticism  sheet  returned 
with  his  picture. 

3n^orma  tion 

Please  .  •  . 

•  Continued  jrom  Page  }04 

Pbotofloods  approximates  true  daylight, 
it  seems  reasonable  that  Weston  8  would 
be  the  correct  rating  ow  which  to  base 
my  exposure  for  Kodachrome.  What  is 
your  opinion. 

A.  Your  deduction  is  correct.  When 
using  daylight  Photofloods  with  any 
film  exposed  indoors,  the  Weston  day- 
light rating  applies. 

Film  for  Magazines  (Ralph  King, 
Willows,  Cahf.) 

O.  1  have  just  purchased  an  Eastman 
?>mm.  magazine  loading  camera.  I  notice 
several  fihn  distributors  advertise  bulk 
film.  Is  it  possible  to  buy  bulk  film  and 
then  load  it  in  a  magazine  for  my  cam- 
era? Do  any  other  firms  beside  Eastman 
sell  fihn  in  magazines  for  my  camera? 

A.  Eastman  Kodak  Co.  is  the  only 
company  selling  magazine  or  cartridges 
of  film  for  the  Magazine  Cine  Kodak. 
They  do  not  recommend  utilizing  the 
film  magazines  for  home  loading  of 
bulk  film. 


* 
* 
* 
* 


Ais55a^&  to 
tke  public  and 
tke  teteiiUt: 


GOERZ 


PHOTO  LENSES 


AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 

We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  we  invite  you  to  write  ai 
about  your  requirements  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — for  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-8 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

Vk-  317  East  34th  Street         New  York  ir 


CORONA 


BETTER 
BULK 
FILMS 

8AME  PRICE  FOR  I6MM.  OR  DOUBLE  8MM. 
ALL  FILMS  HAVE  ANTI-HALO  BACKINGS. 
PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED    100  Ft.    400  Ft. 

CORONA-PAN    24-16       $3.15  $11.60 

ORTHOCHROMATIC    ....  12-  4         1.75  6.00 

8EMI-0RTH0    12-  4         1.30  4.25 

MACHINE  REVERSAL  PROCESSING— Double  8 
or  16mm — 100  ft.,  85c:  50  ft.,  65c;  25  ft..  50c. 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

FREE  BOOKLET  on  home  processing  instructions, 
plans  and  formulae  with  orders. 
Single  copies,  15c 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AVE.      BROOKLYN,  N.  Y. 


GRADUATE  TO  A  Seematiti 


3-star  SPLICER! 


^  Exclusiv*  "toiuion 

pins"  for  greater 

accuracy! 
'itT>tj  emulsion 

scraper  —  ideal  for 

Kodachrome  I 
^Anchored  cement  >  cannol  upsell 


WHOLESALE  PHOTO  SUPPLY  COMPANY 

7366BCytBLT  BOUIEVARO      *       HOLLYWOOD.  CAlrtOBNIS 


PAGE  330 


HOME  MOVIES  FOR  AUGUST 


See  or  Write  BASS  for  These 
Movie  Values 


38. 
52. 

77. 

89. 


Revere    Model   88   with  F:3.5 

Universal    focus  lens   

Revere    klodel   88   with  F:2.5 

Universal    focus  lens  

Revere  Model  99  turret  cam- 
era with  1/2"  F:2.5  Wollensak 

lens     

Revere  Model  85  Deluxe  Pro- 
jector, with  500  watt  lamp, 
complete  with  case  at 
Filmo  70D,  brown  finish,  fitted 
with  r  Cooke  F:l,8  focusing 
mount,  I"  Cooke  F:2.7  fixed 
focus,  3"  Teletar  Telephoto 
F:3.5,  complete  with  case 
Filmo  70DA  black  finish,  20mm. 
Cooke  fixed  focus,  F:3.5  T 
Cooke  F:l.8  focusing  aiount, 
3"  Wollensak  Telephoto,  com- 
plete  with  case 

GET  IN  TOUCH  WITH  BASS  FOR 
CINE    KODAK  SPECIALS 


50 
50 

50 

50 


237.50 


247.50 


^ — ^  Write  Dept.  HM 

y>g^M'jji.iL-i.i.'nji 


■■4^J!II4M.MI1^ 


CUT  HOME  MOVIE  COSTS 

»  J-    "i""  BLACK  WHITE  fine 

Orain   Seiiii-Orti»«tir»iii»tl»  R«- 
verilble  Film  l>r  (iniit  rtsulti — 
lowest  eait. 

16mm.  Reversible 
Outdeer  Film 

100-ft.  Roll,  only  $2.50 

  Rating  Sehelner  It 

8mm.  Reversibit  Outdoor  Film 

25  ft.  Double  8.  only  $1.25 


Same     day     processing  In- 
cluded.   Ask  your  dealer  or 
send  money  direct. 

Write  for  prices  for  develop- 
ing and  processing  for  8mm. 
and     16mm.     films  bought 
elsewhere. 


VISUAL  INSTRUCTION  SUPPLY  CORP. 


1757  Braadway. 


D«pt.  12 


Braeklya,  N.  Y. 


creen  em  with  ioun 


•  •  • 


•  Continued  from  Page  305) 

slow  tempo,  while  another  may  call  for 
a  faster  tempo.. 

The  next  thing  to  do  is  to  start  writ- 
ing the  commentary,  using  the  144 
words  per  minute  as  a  starter.  If  Scene 
No.  13,  for  example,  is  on  the  screen  20 
seconds,  allot  48  words  as  the  maximum 
commentary  to  accompany  that  scene; 
if  the  scene  is  on  the  screen  five  sec- 
onds, then  you  will  be  able  to  get  in 
only  twelve  words.  The  job  here,  then, 
is  to  fit  the  length  of  commentary  to 
the  length  of  picture  scenes.  It's  much 
like  trying  to  construct  a  complicated 
time-table,  but  after  you  get  the  scenes 
clocked  for  length  it  isn't  much  of  a 
job  to  translate  seconds  into  words  then 
outline  a  rough  draft  of  the  com- 
mentary. 

After  the  rough  version  of  the  com- 
mentary has  been  completed,  go  back 
to  your  projector.  Run  the  film  through 
again  at  sound  speed,  while  reading  the 
commentary  aloud.  This  will  give  the 
first  check  on  how  well  you  have  timed 
and  cued  the  commentary  to  the  pic- 
ture. Don't  be  surprised  if  you  find 
yourself  badly  off  in  this  first  trial. 
Even  the  expert  newsreel  commentator 
is  unable  to  hit  his  correct  word-count 
and  timing  until  after  many  trials. 


The  first  trial  at  reading  the  rough 
draft  of  the  commentary  through  as 
the  film  is  projected  will  show  up  the 
more  glaring  of  the  errors  in  word- 
count  and  timing.  As  many  of  these  as 
possible  should  be  marked  for  correc- 
tion, the  corrections  made,  and  then 
comes  another  session  of  reading  the 
script  through  while  trying  to  keep  one 
eye  on  the  screen.  This  second  reading 
will  reveal  still  more  errors.  Writing  a 
good  narration  is  not  a  one-shot  propo- 
sition, but  is  a  very  careful  process  of 
trial-correction-trial  that  must  be  re- 
peated over  and  over  again  until  it 
reaches  the  end  desired.  Don't  try  to  do 
it  all  at  one  time;  let  the  task  stretch 
over  several  days,  so  that  you  can  rest 
and  think  between  trials.  Better  results 
will  be  achieved  in  this  fashion. 

As  a  final  check  on  your  commen- 
tary, ask  several  friends  to  sit  in  and 
act  as  critics  while  you  read  through 
your  script  while  the  film  is  projected. 
To  achieve  some  degree  of  realism,  plug 
a  microphone  into  the  sound  projector, 
and  station  yourself  behind  the  audi- 
ence to  do  the  reading.  Reading  through 
the  mike  and  speaker  will  give  them  a 
fair  imitation  of  the  final  recorded  nar- 


^Atol'MoyhTif/eMokh 
\isEasy- 

Try-it-yourscif  ^ShmTou 


WRITE  e  A-to-Z  MOVIE  ACCESSORIES 

175  Fifth  Avenue  Dept.  H40  New  York,  N.  Y. 


8 


ENLAR6ED 

TO 


«  ^     REDUCED  O 

lb  TO  o 


Black  and  White  and  Kodachrome 
GEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
995-A   MERCHANDISE  MART 
CHICAGO 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  16mm)  you  atmply  cannot 
afford  to  be  without  a  Free  copy  of  the  latasC  Photo  Bar- 
EBln  Book  now  being  distributed  throughout  the  U.  S. 
Liats  all  the  beat  moving  picture  equipment  from  all 
the  leadlnfir  manufacturers,  describes  them.  The  prices 
save  you  money  In  many  cases.  You'll  find  the  latest 
in  lenses,  screens,  meters,  projectors,  cameras,  film, 
tl  tiers,  editing  outfits,  tripods,  books  on  edKinr, 
titling,  etc.  This  Bargain  Book  la  Invaluable  to  you  as 
an  equipment  REFERE>.'CE  book.  Don't  wait  a  day 
longer  to  send   for  your   Free  copy.   Write   ue  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  H-9  Chicago,  Illinois 


EMULSION   RATINGS  FOR  8MM  AND   16MM  FILMS 


1001   riNNSYLVANIA  AVt.  M.W.,  WASHINGTON,   D.  C. 


AGFA  ANSCO 


16mm  Positive    

16mm  Plenachrome    

8mm  Twln-g  Hypan.   

8mm   FUmopan   _  

Twin  8mm  Pan  „  _  _  

Twin  8mm  SSS  Pan  

Straight  8  Pan  _  _  

••DUPOXT 

Regular  Pan  (Bev. )  Type  321... 

Super  Pan  (Bev.)  Type  302  

Sup.-2  (N-PorBv. )  Type  301.. 
Type   314   Pan    (N.-P.  or  Bev. ) 

Positive  Type  600  _  

Sound  Becord.  Pos,  Type  601.  .. 

EASTJIAX 

16mm  Super  XX  Pan.  

16inm  Super  X  Pan  

16mm    Safety   _   

16mm  Sound  Pan   _. 

16mm  Pan.  Negative    

16mm  Positive     

8mm  Super  X  Pan.  

8mm  Begular  Pan  

Kodachrome  (8  and  16mm)  

Kodachrome  "A"  (8  and  16mm) 

GEVAEET 

Super  Eeversal     

Panchro    -. 

Ortho   _  


Scheiner 

Weston 

G- 

E 

Scheiner 

Weston 

c 

c 

c 

o 

t 

§ 

>, 

c 

5 

a 

c 

H 

a 

a 

a 

a 

GEXEBA 

1 

1 

29 

27 

100 

80 

125 

100 

Super  Meteorpan   _  

1  27 

1  25 

64 

40 

24 

23 

32 

24 

48 

32 

Super  Panchromatic   

1  24 

1  23 

24 

16 

21 

20 

16 

12 

24 

16 

Super  Ortho    

1  21 

1  17 

16 

6 

27 

25 

64 

40 

100 

64 

Movetone  Ortho   

1  19 

1  13 

16 

6 

12 

8 

3 

.... 

- 

Semi- Ortho    

1  18 

1  12 

8 

1  2 

20 

.... 

12 

.3 

16 

_.. 

1 

1 

1 

24 

23 

32 

24 

48 

32 

KlN-0-LUX 

1 

1 

1 

24 

23 

32 

24 

48 

32 

1  18 

1  ..- 

8 

1  _ 

20 

18 

12 

10 

16 

12 

So.    2  Z.  _  

1  20 

1 

12 

.... 

29 

27 

100 

80 

125 

100 

No.  3._    

1  26 

1  24 

50 

1  40 

24 

23 

32 

24 

48 

32 

No.  3  Gold  Seal  

1  -■ 

29 

_.  1100 

1 

1 

HOLLYWOOD 

1 
1 

1 
1 

1 

20 

18 

12 

8 

16 

12 

8.  S.  Pan    

1  26 

1  25 

50 

1  40 

29 

28 

100 

80 

.... 

Pan   _   

1  21 

1  20 

16 

1  12 

1  26 

1  25 

64 

40 

48 

1  24 

Semi-Ortlia 

1  18 

1  12 

8 

1  2 

1  21 

1  20 

16 

12 

1 

1 

1 

1  12 

1  .... 

2 

1/6 

I  _.. 

UNI  VEX 

1 

1 

1 

1  17 

1  9 

6 

1 

1  .„. 

Standard   

1  17 

1  14 

6 

1  — 

1 

1 

nitrapan     

1  20 

1  18 

12 

1  6 

1 

1 

1 

Cltrapan  Super-Speed 

1  23 

1  21 

24 

1  16 

1  .... 

1  — 

100 

80 

125 

1100 

1 

1 

1 

1  24 

1  23 

32 

1  24 

1  48 

1  32 

GAMMACHBOME 

1 

I 

1 

1  20 

1  18 

12 

1  8 

1  16 

1  12 

Begular    

1  18 

1  10 

1  8 

1  3 

1  23 

1  21 

24 

1  16 

1  .... 

Plus   

1  20 

1  17 

12 

1  6 

1  23 

1  21 

24 

1  16 

1  32 

1  24 

Superpanex  No.  100  

1  29 

1  27 

100 

1  64 

1  16 

1  10 

5 

1  3 

1  16 

1  4 

Superpanex  No.  24  

I  23 

1  21 

24 

1  K. 

1  23 

1  21 

24 

1  20 

1  32 

1  24 

!  18 

1  1(1 

!  8 

1  3 

1  18 

1  16 

8 

1  5 

1  12 

1  8 

1  18 

1  14« 

8 

1  3* 

1  12 

1  4« 

1  18* 

1 

1  21 
1 

8* 

1  12 

1 

1  12*1  16 

1 

1  23 

1 

1  21 

24 

1 

1  16 

1  32 

1 

1  24 

1  20 

1  18 

12 

1  8 

1  16 

1  12 

1  ?1 

1  17 

1  16 

1  6 

1  24 

1  8 

••Eatings  for  last  four  Dupont  films  are  for  straight  development.  Ratings  for  reversal  depend  upon  processing 

formulas  and  technique  employed. 
•With  filter. 


HOME  MOVIES  FOR  AUGUST 


PAGE  331 


f  8mm  FANS  ^ 
L  CINE  EXTENAR  J 


ration.  In  this  way  you  will  have  op- 
portunity to  see  whether  the  whole 
product,  sound  script  and  picture,  hang 
together  and  make  an  intelligent  impres- 
sion on  an  audience. 

The  script  is  now  ready  to  be  put  in 
mechanical  shape  for  the  recording  lab- 
oratory. If  recording  is  to  be  done  by 
an  out-of-town  laboratory,  don't  expect 
the  narrator  to  take  your  script  and 
achieve  the  desired  results  unless  you 
give  him  very  specific  and  detailed  in- 
structions regarding  the  pacing  and 
timing  of  the  commentary. 

Most  laboratories  will  ask  you  to 
draw  up  a  cue  sheet  in  three  columns: 
( I )  picture  scenes  described  and  num- 
bered, (2)  narration,  and  (3)  footage 
or  time-length  of  each  scene.  As  you 
write  down  the  description  of  each  film 
scene,  set  down  the  accompanying  nar- 
ration in  the  adjacent  column  so  the 
narrator  will  know  which  words  be- 
long with  each  scene.  If  music  and 
sound  effects  also  are  to  be  recorded,  you 
will  need  a  fourth  column  for  cueing  in 
these.  It  is  suggested  that  you  query 
your  laboratory  concerning  the  form  in 
which  they  prefer  the  sound  script 
written. 

Finally,  a  few  cautions  to  observe  be- 
fore you  get  too  far  along  in  tke  writ- 
ing of  your  sound  script: 

(i)  For  a  slight  additional  fee  any 
laboratory  will  undertake  to  re-record 
on  the  sound  track  almost  any  type  of 
standardized  sound  effect  —  telephone 
bell,  train  whistle,  airplane  motor,  etc. 
However,  be  very  careful  not  to  plan 


sound  effects  that  demand  split-second 
synchronization  with  screen  action. 
The  best  advice  is  to  question  the  lab- 
oratory before  definitely  including 
sound  effects  of  any  type.  They  will 
gladly  tell  whether  such  effects  are 
feasible. 

(2)  Don't  compose  a  narrator's  com- 
mentary in  which  the  timing  is  depend- 
ent upon  change  of  pace — slow  at  cer- 
tain points,  fast  at  others.  Such  a  com- 
mentary will  be  exceedingly  hard  for 
the  laboratory  to  work  out,  and  will 
cost  for  the  extra  time  thus  used.  Write 
the  commentary  so  that  any  stranger 
can  pick  it  up  and  master  it  in  a  few 
trials  with  your  projected  film. 

(3)  Don't  include  in  the  commentary 
any  sentences  or  phrases  that  depend 
for  their  effectiveness  upon  the  tone  of 
voice  or  inflection  of  speech  in  which 
they  are  delivered,  unless  you  can  be 
absolutely  certain  that  your  directions 
will  be  understood  clearly. 

(4)  If  you  plan  to  use  music  through- 
out the  film  as  a  background  for  the 
narration,  examine  the  selections  very 
carefully  to  see  that  they  supplement 
and  strengthen  the  narration.  The 
wrong  musical  selection  can  destroy 
the  effect  of  the  narration.  If  your 
film  is  of  a  type  whose  effectiveness  de- 
pends upon  a  clear,  logical  commentary, 
stay  completely  away  from  music  ex- 
cept as  an  introduction  and  closing  de- 
vice. As  a  final  caution,  find  out  from 
the  laboratory  whether  a  copyright  fee 
will  be  charged  for  any  of  the  selections 
you  want  to  use. 


Vaty.  your  camera  anylei  . . . 


•  Continued  from  Page  ;  14 

in  a  scene  at  the  seashore,  with  possibly 
a  man  and  woman  as  subjects.  Take  the 
camera  into  the  surf  and  show  the  two 
approaching  the  water  hand  in  hand.  As 
their  feet  touch  the  water,  the  woman 
pulls  back  and  refuses  to  go  any  furth- 
er. Move  in  for  a  closer  shot  as  the 
woman  shivers.  Move  to  the  side  and 
show  the  man  pull  the  woman  toward 
the  water.  She  breaks  away  and  runs 
back  to  dry  sand.  Camera  picks  up  man 
from  position  occupied  by  woman;  he 
disinisses  her  as  hopeless  by  appropriate 
gesture  and  plunges  into  the  surf.  Take 
a  position  back  of  the  woman  as  once 
more  she  tries  to  brave  the  water.  Get 
a  close-up  of  her  feet  as  she  puts  one  toe 
into  a  retreating  wave.  She  follows  the 
wave  out  a  few  steps  (in  close-up  of 
feet)  and  suddenly  a  comber  sweeps  in 
unexpectedly  and  drenches  her.  A  close- 
up  of  her  face,  dripping  and  gasping, 
would  be  excellent  here.  Then  take  a 
position  from  the  side  as  she  dives  into 
a  wave  and  swims  out  to  the  waiting 
man.  Splice  in  a  few  shots  of  waves 


breaking  on  the  shore  at  this  point  to 
denote  a  transition  while  subjects  are 
swimming,  then  come  in  with  a  shot  of 
the  man  and  woman  walking  or  run- 
ning out  of  the  water  toward  the  cam- 
era and  returning  to  dry  sand.  Close- 
ups  of  their  dripping  faces  could  com 
plete  this  sequence,  in  an  ordinary  cut- 
ting movie,  which  has  been  filmed  with 
just  a  little  more  thought  than  usual 
to  achieve  a  continuity  containing  all 
the  elements  of  drama. 

Many  amateurs  make  full  use  of  the 
dramatic  potentialities  of  their  cameras 
in  other  ways  besides  that  of  filming  a 
suspenseful  continuity  of  simple  action. 
Contrast  is  another  way  of  getting  dra- 
matic effects  into  a  picture.  One  suc- 
cessful amateur  opened  his  picture  of  a 
small  baby  by  showing  a  man's  hand 
completely  filling  the  film  frame.  The 
hand  slowly  opened  and  revealed  the 
tiny  hand  of  a  baby  nestling  in  the 
adult's  huge  palm.  Another  filmer 
started  a  similar  picture  with  the  cam- 


Don't  miss  corners  .  .  .  squash  your 
back  into  the  wall  .  .  .  show  weirdly 
"cropped"  shots. 

With  this  scientifically  correct 
WIDE  ANCLE  LENS,  you'll  get  new 
and  wider  visions,  more  professional- 
looking    home    movie  performance. 


An  American  made,  supplementary  lens  to 
the  precision  standards  of  the  finest  camera 
lenses.  Simply  screw  it  on  and,  PRESTO! — 
you  have  a  wide  angle  lens  of  identical  speed 
and  definition.  No  special  focus  adjustment 
required  with  CINE 

EXTENAR     $27.50 

Write  for  illustrated  folder,  giving  make  and 
description  of  your  present  8mm.  lens 

CAMERA  SPECIALTY  CO. 


46  West  29th  St. 


New  York 


The    MOVIE  MAKER'S 

FAVORITE 


The  VICTOR 

This  new  11 -inch  "Diffuser-Flector"  for 
No.  2  floodlamps  is  highly  effective,  needs 
no  diffusing  screen.  The  strong  spring 
clamp,  swivel  mount  and  lo-ft.  rubber 
cord  and  plug  from  the  push-switch 
socket  completes  this  very  portable  unit. 
See  it  now  at  your  dealer's  or  write  for 
free  instructive  folder.  Price,  including 
excise   tax       _$4.15 

)AMES  H.  SMITH  &  SONS  CORP. 
820  Lake  St.  Griffith,  Indiana 


PACE  332 


HOME  MOVIES  FOR  AUGUST 


i 


For  attractive  professional  looking 
titles  use  Mitten  Pin-back  or  Sand- 
ed-back titling  letters.  Made  in  a 
wide  variety  of  sizes  and  styles. 


Illustrated  above  is  the 

MITTEN  TITLING  SET 

containing  both  lower  case  and  capi- 
tal letters.  A  most  versatile  set  for 
either  main  or  sub  titles. 

Price  $7.50 — sanded  back  letters. 
Price  $7.95 — pin-back  letters. 

Other  sets  are  priced  from  $5.50  up. 


See  at  your  local  camera  store  or 
order  direct  from 

MITTEN  LETTER  CO. 

REDLANDS  CALIFORNIA 


era  lens  very  close  to  ths  diaper-cov- 
ered bottom  of  his  child.  The  baL-y 
slowly  crawled  away  from  the  camera 
and  came  into  focus  as  an  individual  in- 
stead of  a  piece  of  cloth. 

When  filming  the  spectacular  Mt. 
Rushmore  Memorial,  a  cinefilmer  put 
several  persons  in  the  foreground  to 
give  contrast  to  the  heroic  carvings. 
Similarly,  successful  amateurs  inject 
human  interest,  which  is  nothing  more 


than  drama  on  a  simple  plane,  into  their 
vacation  scenic  pictures  by  filming  per- 
sons and  their  reactions  in  connection 
with  natural  sights  and  phenomena. 

All  of  this  is  not  a  new  discovery, 
but  a  proven  technique  by  which  mov- 
ies— amateur  and  otherwise — are  made 
more  enduring  in  interest  and  enter- 
tainment value.  It  is  the  treatment  that 
makes  an  amateur's  movies  welcome  en- 
tertainment all  the  time. 


CloAeupi  with  extension  tubei 


•  Continued  from  Page  j  j  / 

for  most  movie  amateurs  there's  a  slight 
catch  to  this  extension  tube  business 
today  in  that  unless  you  own  an  8mm. 
or  1 6mm.  magazine  Cine  Kodak  or  a 
Cine  Special,  you  will  have  to  have 
extension  tubes  made  special  for  your 
particular  camera  and  lenses  the  same  as 
I  did.  The  war-time  restrictions  on 
metals  being  what  they  are,  it  will  prob- 
ably be  necessary  to  resort  to  tubular 
plastics  unless  you  can  locate  a  suitable 
length  of  metal  tubing  in  your  garage 
scrap  .pile.  Use  of  extension  tubes  is  also 
limited  to  those  cameras  with  remov- 
able threaded  lens  mounts.  Until  re- 
cently, before  the  priority  situation  set 
in,  Bell  &  Howell  accepted  special  or- 
ders for  extension  tubes,  custom-built 
to  the  customer's  order. 

One  gadget  still  available  for  both 
8  mm.  and  i6mm.  cameras  is  the  Goerz 
Reflex  Focuser  which  combines  a  i 
extension  tube  with  a  means  for  visual- 
ly focusing  lens  on  subject  to  be  filmed. 
Lens  is  removed  from  camera  and  the 
Goerz  Reflex  Focuser  screwed  in  to 
camera  in  its  place.  The  lens  is  then 
mounted  in  front  of  the  Focuser.  A  sim- 
ple adjustment  permits  viewing  the  im- 
age as  it  will  appear,  highly  magnified 
on  the  screen. 

Use  of  extension  tubes  introduces 
certain  problems  which  must  be  over- 
come if  their  use  is  to  be  successful. 
These  problems  are  exposure  and  parallax. 
Moving  the  lens  away  from  the  film  re- 
duces its  speed.  Therefore,  in  extending 
the  camera  lens  with  an  extension  tube, 
its  f  /  value  immediately  changes.  For 
example,  by  coupling  a  i"  extension 
tube  on  a  i"  f/3.5  telephoto  with  the 
magazine  Cine  Kodak,  the  new  f/  value 
of  the  lens  becomes  f/7.1  instead  of 
f/3.5.  A  4"  extension  tube  would 
change  it  to  f/12.44. 

"When  you  wish  to  calculate  the  re- 
vised f/  value  of  a  certain  lens-tube 
combination  to  correspond  with  light 
reading  indicated  by  your  exposure  me- 
ter, proceed  as  follows:  Divide  the  £/ 
number  indicated  by  the  exposure  me- 
ter by  the  sum  of  the  focal  length  and 
lens  extension.  Then  multiply  this  fig- 


ure by  the  focal  length  of  the  lens.  The 
result  will  be  the  number  at  which  the 
lens  diaphragm  must  be  set,  in  order  to 
give  the  exposure  indicated  by  the 
meter. 

EXAMPLE:  Focal  length,  2  inches; 
extension  tube,  lYz"  (or  1.375");  ex- 
posure meter  reading,  f /8 : 


8 


2  +  1-375  3-375 

2.37  X  2  =  4.74 


2-37 


This  means  that  when  exposure  me- 
ter indicates  a  setting  of  f/8,  the  lens 
should  be  set  at  f/4.74.  Of  course,  there 
is  no  such  number  on  the  lens,  but  it 
can  be  approximated  by  setting  indi- 
cator about  of  the  distance  from  f/4 
to  f/5.5. 

Where  extension  tubes  are  supplied 
for  certain  cameras,  as  in  the  case  of 
the  Eastman  cameras  already  cited,  the 
manufacturer  has  calculated  the  ex- 
posures and  provides  a  dependable  ex- 
posure chart  applying  to  their  tubes 
when  used  with  the  cameras  and  lenses 
for  which  they  were  designed.  Any  op- 
tical engineer,  of  course,  given  accurate 
figures  as  to  distance  of  regular  camera 
lens  from  film  plane,  length  of  exten- 
sion tube  to  be  used,  plus  lens  f  /  value, 
could  readily  calculate  a  new  scale  of 
f/  values  for  the  lens-extension-tube 
combination. 

To  cope  with  the  parallax  problem, 
there  are  two  reflex  viewing  attach- 
ments now  on  the  market  for  this  pur- 
pose: one,  the  Goerz  Reflex  Focuser,  al- 
ready described,  and  the  Optiax  Viewer 
marketed  by  Arthur  Wolf,  Chicago. 
The  latter,  unlike  the  Goerz  focuser, 
must  be  removed  from  the  camera  and 
replaced  by  the  lens  after  centering  is 
accomplished. 

Lacking  either  of  these  devices,  it 
then  becomes  necessary  to  center  cam- 
era on  object,  focusing  the  image  on  a 
ground  glass  screen.  This  can  be  done 
by  placing  a  piece  of  frosted  cine  film 
in  the  open  film  gate  of  the  camera  and 


HOME  MOVIES  FOR  AUGUST 


PACE  333 


focusing  upon  it,  viewing  the  result 
with  the  aid  of  a  small  mirror  thrust 
behind  the  film  where  the  film  gate 
does  not  open  sufficiently  to  permit  full 
visual  inspection. 

The  Eastman  Cine  Special  has  a 
built-in  visual  focusing  device  which 
views  directly  through  the  lens  in  tak- 
ing pictures,  while  the  Victor  and  Bell 
and  Howell  cameras  have  visual  focus 
devices  displaced  from  the  actual  tak- 
ing position.  The  latter  will  simplify 
the  measurement  of  distances,  but  will 
not  locate  the  field. 

It  is  helpful,  of  course,  to  know  ap- 
proximately what  field  will  be  covered 
by  certain  lens  and  tube  combinations 
so  that  the  right  combination  may  be 
selected  to  fit  the  subject  to  be  filmed. 
A  smaller  field  will  be  required  for  film- 
ing a  bee  or  an  ant  than  would  be  used 
for  filming  a  grasshopper.  The  follow 
ing  table  indicates  area  of  field  covered 
with  2,  4  and  6-inch  telephotos  when 
coupled  with  the  %-in.,  %-in.  and  lYz- 
in.  extension  tubes  previously  described. 
Data  on  the  regular  i-in.  lens  is  pur 
posely  omitted  as  being  inapplicable  to 
average  amateur  use: 


ter  advantage  in  semi-slow  motion. 
Made  to  move  slowly  and  ponderously 
on  the  screen,  the  minute  subject  takes 
on  mass  and  added  size,  becomes  some- 
thing awe-inspiring. 

A  friend,  who  had  a  set  of  extension 
tubes  made,  patterned  after  mine,  has 
a  most  interesting  film  of  ants  at  work. 
Photographed  in  Kodachrome,  it  shows 
the  ants  building  their  homes  and  stor- 
ing food  for  the  winter.  In  the  same 
film,  he  has  scenes  of  a  wasp  fighting 
an  unknown  adversary — the  camera- 
man who  rolled  tiny  pebbles  over  the 
hole  in  which  the  wasp  was  at  work. 
The  wasp  is  shown  struggling  to  remove 
the  pebbles,  affording  study  of  this  in- 
sect at  extremely  close  range  and  in  an 
unusual  activity  that  could  not  other- 
wise be  studied.  Such  pictures  must  be 
seen  to  fully  appreciate  their  vast  ap- 
peal. And  they  are  within  the  means 
and  ability  of  any  cine  camera  owner. 

Here  are  a  few  things  to  remember 
when  filming  with  extension  tubes.  If 
you  film  insects  under  artificial  light, 
keeep  photofloods  as  far  away  from  sub- 
jects as  possible,  otherwise  they  may 
succumb  to  the  heat. 


Lens 

2-inch. 

4-inch. 
6-inch. 


Extension  tube        Distance  from  object       Approx.  area  covered 


%  inch 
%  inch 

1  V2  inches 
%  inch 
%  inch 

1  '/2  inches 
%  inch 

1  Vz  inches 


1  4  inches 
8  inches 
4  inches 
46  incres 
28  inches 
1  6  inches 
56  inches 
31  inches 


1-3/4X  2-3/8  inches 
13/1 6x1 -3/1 6  inches 


3/8x 
2-3/4X 
-9/1 6x 

3/4x 
2-3/8X 
-I/16x 


1  /2  inches 
4  inches 

2-  1/8  inches 

1  inch 

3-  1/4  inches 
1-1/2  inches 


A  point  to  remember  is  that  depth  of 
field  is  extremely  shallow  when  exten- 
sion tubes  are  used  and  when  attempt- 
ing to  film  living  insects  you  may  en- 
counter difficulty  in  keeping  them  in 
sharp  focus  long  enough  to  make  the 
shot.  Some  means  must  be  employed 
for  fastening  them  to  a  small  stage  in 
front  of  the  camera.  One  thing  is  cer- 
tain, they  won't  stay  there  without  be- 
ing made  fast  and  you  should  not  kill 
them  because  it  is  action  you  are  after. 
Placing  subjects  on  small  bits  of  fly  pa- 
per is  probably  the  best  expedient. 

It  is  advisable,  too,  to  speed  up  cam- 
era to  24  or  32  frames  per  second,  for 
the  motions  of  such  tiny  creatures  are 
so  rapid  that  they  appear  to  much  bet- 


The  longer  your  telephoto  lens,  the 
farther  from  the  subject  you  may  work, 
which  is  advantageous.  The  standard 
I  inch  (or  Yz  inch,  8mm.)  lens  could 
be  used,  but  this  would  make  it  neces- 
sary to  work  so  close  to  subject,  shadow 
of  lens  would  fall  upon  it. 

Two  or  more  extension  tubes  may  be 
joined  together  to  gain  added  length  in 
the  extension.  The  more  extension  tube 
you  add  to  a  lens  the  smaller  the  field 
becomes. 

Camera  must  not  be  hand  held  for 
the  same  reason  it  should  not  be  hand 
held  for  any  telephoto  shot.  Rigid  sup- 
port is  necessary  not  only  for  camera 
but  for  the  extension  tube,  when 
lengthy  tubes  are  used. 


Ca^^'to'^ilm  Scenario  . 


•  Continued  from  Page  315 

traveling  ahead:  Father  responds  affec- 
tionately to  boy's  statement  as  the 
group  continues  walking  and  talking. 

Scene  21.  Front  porch  of  home. 
Mother  on  steps  looking  expectantly 
toward  approaching  father  and  chil- 
dren out  of  scene.  They  enter  scene  and 


father  kisses  mother.  She  begins  to  tell 
him  about  Butch: 

TITLE:  "Butch  is  coming  home — ." 

Scene  22.  Closeup  of  father  as  he 
speaks: 

TITLE:  "Yes,  yes.  The  children  have 
been  telling  me." 


HOME  MOVIES 

TITLE  CENTERING 
GUIDES 


Available  for  every  popular  make  and 
model  8mm.  and  16mm.  cine  camera  are 
these  simple  centering  guides  that  assure 
quick,  accurate  centering  of  camera  with 
title  board — regardless  of  size  of  title  cards 
used. 

Merely  place  guide  in  card  holder  (with 
typewriter  titlers)  line  up  through  camera 
viewfinder,  and  shoot  title.  Large  title  areas 
require  enlarging  guide  lines  with  ruler 
and  pencil  according  to  illustrated  in- 
structions. 

Centering  guides,  printed  on  durable 
paper  stock,  available  for  the  following 
cameras: 

8MM.  REVERE  (ALL  MODELS) 

8MM.  MAGAZINE  CINE  KODAK 

8MM.  SINGLE  LENS  FILMO 

8MM-  TURRET  FILMO 

8MM.  CINE  KODAK  20 

8MM.  CINE  KODAK  25 

8MM.  CINE  KODAK  60 

8MM.  KEYSTONE 
I6MM.  CINE  KODAK  "K" 
FILMOS— ALL  "70"  MODELS 
I6MM.  FILMO  "121" 
I6MM.  FILMO  "141" 
I6MM.  CINE  KODAK  E 
I6MM.  VICTOR 

I6MM.  KEYSTONE  A3,  A7  AND  Bl 

BE  SURE  TO  SPECIFY  MAKE  AND 
MODEL  OF  CAMERA  WHEN 
ORDERING! 

10^ 

EACH 

HOME  MOVIES 

6060  Sunset  Boulevard 
HOLLYWOOD  CALIFORNIA 


Kodachrome 


MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 

995-A    Merchandise    Mart,  Chicago 


When    You   Buy  BAIA 
Yon  Buy  the  Best 

Precision  Made; 
Guaranteed  Perfect 

$2.75 

From  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
166  Victor 
Hiehland  Parit,  Michigan 


PACE  334 


HOME  MOVIES  FOR  AUGUST 


AVOID  ERRORS 

Now  for  only  50c,  you  can  have  that 
volume  of  the  HOME  MOVIES  Maga- 
zine Series  that  starts  where  the  in- 
struction book  leaves  off.  When  it 
comes  to  movie  making,  it  is  as  inval- 
uable as  your  right  arm  with  its  ABC-s 
of  camera  technique,  exposure,  and  all 
the  ways  of  overcoming  the  usual  er- 
rors made  by  those  not  in  on  The 
Know.   Send  for  it  Today. 


BUILD  IT  YOURSELF! 

That  gadget  you've  been  wanting — 
sunshade,  filter  holder,  fading  device, 
or  camera  dolly — you  can  easily  build 
yourself.  You  don't  have  to  be  a  me- 
chanic; as  long  as  you  can  use  a  few 
simple  tools  you  can  make  any  of  the 
gadgets  Illustrated  and  described  in  this 
fascinating  book  of  Home  Movie  Gad- 
gets. Making  one  gadget  will  more  than 
repay  the  price  of  $1.00. 

On  Sale  At  Dealers  Or  Order  Direct  From 

HOME  MOVIES 

6060  Sunset  Boulevard 
HOLLYWOOD  CALIFORNIA 


Scene  23.  Closeup  of  mother  as  she 
speaks: 

TITLE:  "It's  almost  time — ." 

Scene  24.  Medium  shot  of  entire 
group  on  front  porch.  Son  raises  fath- 
er's sleeve  to  look  at  wrist  watch: 

Scene  25.  Closeup  of  watch.  It  is  al- 
most 5:30. 

Scene  26.  Back  to  scene  24,  as  son 
observes  time  of  Butch's  arrival  is  at 
hand.  Runs  out  to  curb  and  looks  anx- 
iously down  street.  Other  children  fol- 
low him. 

Scene  27.  Long  shot.  Taxi  approach- 
ing in  distance. 

Scenen  28.  Medium  shot  as  taxi  pulls 
up  at  curb  and  stops.  Before  driver  can 
get  out,  door  of  rear  compartment  opens 
and  a  husky  but  tattered  man  hastily 
exits  and  starts  to  brush  himself  off. 
His  necktie  is  missing  and  it  is  evident 
his  clothing  was  recently  torn  as  though 
in  a  brawl.  Son  rushes  into  scene  and 
up  to  him;  looks  around  quizzically  then 
asks: 

Scene  29.  Medium  closeup  of  son 
and  husky  stranger  as  son  speaks: 

TITLE:  "Where's  Butch?" 

Scene  30.  Same  as  scene  28.  Stranger 
looks  gruffly  at  son  then  turning  and 
pointing  toward  interior  of  taxi,  says: 

TITLE:  "In  there!" 

Scene  31.  Back  to  scene  30.  Son  re- 
acts to  stranger's  words,  then  goes  to 
taxi  and  reaches  inside  door. 

Scene  32.  Closeup.  Interior  rear  com- 
partment of  taxi.  On  floor  is  "Butch," 
the  family  dog,  tied  to  opposite  door 
handle  with  stranger's  necktie.  Boy  in 
immediate  foreground  is  untying  him 
and  as  dog  jumps  into  his  arms,  we 
cut  to: 

Scene  33.  Same  as  scene  3  i .  Son  turns 
and  faces  camera  with  dog  in  arms. 
Stranger  registers  fear  of  dog,  as  he 
steps  back  suddenly  out  of  reach.  All 
members  of  family  move  into  scene  and 
heap  affection  on  dog. 

Scene  34.  Slightly  longer  shot  than 
previous  scene.  While  family  is  en- 
grossed with  returned  dog.  Father  steps 
toward  stranger,  reaches  into  pocket 
and  extracts  roll  of  bills. 

Scene  35.  Closeup,  father  and  the 
stranger.  Father  pats  stranger  on  shoul- 
der and  says  apologetically: 

TITLE:  "I'm  sorry  I  sent  him  away. 
I  didn't  know  the  kids  missed  him  so 
much.  Take  this  for  your  trouble." 

Scene  36.  Back  to  scene  35.  Stran- 
ger takes  money,  pockets  it,  and  starts 
to  re-enter  taxi. 

Scene  37.  Medium  closeup  of  dog  on 
ground.  Some  of  the  children  playing 
with  him.  Dog  suddenly  looks  up  and 
out  of  scene,  as  though  towards  the 
stranger,  and  dashes  out  of  scene  to- 
wards him. 

Sce'ne  38.  Medium  shot.  Taxi  at 
curb.  Stranger  enters  cab  hastily  to  es- 
caps  dog  (not  shown  in  scene)  and  or- 
I  ders  taxi  driver  to  proceed.  Stranger 


looks  apprehensively  toward  barking  dog 
as  taxi  exits  from  scene. 

Scene  39.  Medium  closeup.  Son  hold- 
ing dog  which  is  barking  fiercely  at  de- 
parting taxi.  The  rest  of  the  children 
are  grouped  around  watching  the  de- 
parting taxi.  Fade-out. 

The  End. 

The  scenes  involving  the  dog  are  es- 
pecially written  so  no  acting  ability  is 
required  of  him,  making  it  possible  for 
you  to  use  a  neighbor's  dog  if  you  do 
not  own  one.  The  scenes  in  which  he  is 
shown  barking  toward  the  stranger  can 
be  filmed  with  someone  out  of  scene 
causing  the  dog  to  bark  as  required. 

Revelation  of  the  dog  as  Butch  in 
scene  32  is  the  climax  and  scenes  im- 
mediately preceding  this  should  be  cut 
fast  to  build  suspense.  Your  best  actor 
should  be  cast  as  the  stranger  in  order 
to  heighten  the  effect  of  those  scenes  in 
which  he  appears. 

ZJfie  J^eaJer 

Speaks  .  .  . 

O  Coit/iiiHcd  from  Page  302 

or  in  part  for  equal  footage  of  unex- 
posed 1 6mm.  Kodachrome  in  100  foot 
rolls. 

— Robert  C.  Harnsberger, 
Liiray,  VirKinia 

Dear  Editor:  Note  to  Denver  8mm. 
fiimers:  I  can  furnish  8mm.  Koda- 
chrome footage  of  Henry  Ford's  Green- 
field Village,  Niagara  Falls,  and  Great 
Lakes  marine  scenes.  I  want  8mm.  Kod- 
achrome footage  of  Route  40  Berthoud 
Pass,  Moffat  Tunnel  from  Route  40 
side.  Trail  ridge,  and  Pikes  Peak  area. 

— George  C.  Winchell, 
Freedom  Rd., 
Rai  ena,  Ohio. 

Dear  Sirs:  I  want  100  feet  8mm.  Ko- 
dachrome of  Tulip  Festival  in  Holland, 
Michigan.  Will  trade  100  feet  unex- 
posed Kodachrome  for  same. 

— Edward  Oliver, 
6105  So.  Laflin  St., 
Chicago,  III. 

Gentlemen:  Wish  to  contact  an  8mm. 
movie  maker  in  Philadelphia  who  can 
supply  me  with  Kodachrome  footage 
of  several  places  in  that  city.  I'll  swap 
equal  amount  of  Kodachrome  film. 
Please  communicate  for  details  of  scenes 
wanted. 

—Bill  Ralph, 

19828  Forest  At  e., 
Hayward,  Calif. 


ORDER  FOR  SUBSCRIPTION 

Home  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,  $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Years  for  $4.00  in  the  U.  S. 

OME  MOVIES 
960  Sunset  Blvd. 
oJlywood,  Calif. 


State. 


□  Renewal 


□  Gift 


.._  State  

□  Renewal  □  Gift 


.19. 


City  State  

NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


I 


i 


I 


HOMI  MOVIB  pen  AUCUST 


TITLE  trouhlei 

By  GEORGE  W.  CUSHMAN 

If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  J04 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self -addressed  stamped 
envelope  if  you  wish  an  early  reply. 

Q.  What  is  the  simplest  method  far  a  beginner,  not  a  fancy 
"letterer,"  to  print  title  cards?— M.  ).,  Glendale,  Calif. 

A.  Typewrite  them.  If  typewriter  is  not  accessible  (or  if 
you  can't  type) ,  get  a  package  of  alphabet  soup  letters 
from  your  grocer,  sort  out  a  selection  of  unbroken  letters, 
and  compose  your  titles  with  them.  They're  easily  colored 
with  show-card  or  water  colors  for  Kodachrome,  too.  A 
dab  of  glue  or  rubber  cement  applied  with  a  toothpick  to 
backs  of  letters  will  hold  them  in  place  on  title  card. 

Q.  The  titles  in  my  pictures  invariably  pimp  up  and 
down  on  the  screen  whereas  the  scenes  do  not.  I  photo- 
graphed both  my  titles  and  the  scenes,  but  the  latter  were 
sent  away  for  processing  while  I  processed  the  titles  my- 
self. I  used  double  %mm.  film.  What  causes  this? — C.  S., 
Wilmington,  Del. 

A.  Most  likely  your  film  slitter  is  at  fault,  failing  to  slit 
your  film  accurately  resulting  in  "bulges"  that  have  trouble 
passing  through  film  gate  of  your  projector  and  hence  the 
jumpy  action  on  the  screen. 

Q.  How  can  I  make  an  animated  title  that  will  show  the 
letters  appearing  one  at  a  time  wfoen  my  camera  is  not 
equipped  for  single  frame  photography? — H.  L.  K.,  Terrc 
Haute,  Ind. 

A.  Using  reversal  film  and  white  letters  over  a  black 
background,  hold  a  piece  of  black  paper  or  cardboard  (same 
material  as  title  card)  over  the  letters  and  as  camera  op- 
erates, draw  card  slowly  to  right  exposing  one  letter  at  a 
time.  Where  effect  is  to  be  applied  to  titles  of  more  than 
one  line,  set  up  first  line  of  letters  and  proceed  as  above; 
then  stop  camera  and  set  up  second  row  of  letters  and  con- 
tinue photographing  as  before. 

Q.  What  is  the  closest  distance  advisable  for  shooting 
titles? — B.  L.  /.,  Sioux  City,  la. 

A.  It  is  not  practical  to  shoot  titles  at  distances  less  than 
provided  by  the  average  typewriter  titler  i.  e.,  6  or  8 
inches.  The  smaller  the  title,  the  greater  the  magnification 
of  detail  on  the  screen  which  shows  up  any  irregularities 
in  printing,  lettering  or  texture  of  title  card  or  back- 
ground. 

Q.  What  causes  lettering  of  typewritten  titles  to  appear 
uneven  in  density  on  the  screen? — A.  J.  T.,  Toledo,  Ohio. 

A.  In  most  cases,  too  light  an  impression.  WTien  typing 
titles,  best  results  are  obtained  where  each  key  is  struck 
twice — go  over  each  letter  a  second  time.  Also  a  fresh  black 
ribbon  should  be  used.  If  titles  are  made  on  positive  film, 
allow  less  exposure  when  shooting  and  develop  the  film 
longer  to  increase  contrast. 


PACI  335 


HOME    IH  0  n  E 

TITLES 


PACE  336 


HOME  MOVIES  FOR  AUGUST 


ADIIRTISIK 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  Cire  Leadership  exemplified  in  com- 
plete stock  of  new  and  used  cine  equipment  for 
Immediate  delivery. 

USED  CAMERAS 

Cine  Special,  late  model,  I'  Kodak  F:l.9,  2'  Dall- 
meyer  F:l.5  and  screw-in  turret,  $545.00. 

Cine  Special,  late  model,  1"  Kodak  F:l.9,  21/2'  Ko- 
dak F:2.7.  $449.50. 

200  ft.  Cine  Kodak  Magazine,  good  condition, 
$144.00. 

8mm.  Bell  &  Howell  Companion,  F:3.5  lens.  $42.50. 
8mm.  Revere  Model  99  Turret,  F:2.5  lens,  II/2'  Wol- 

lensak  F:3.5,  $97.50. 
8mm.  Zeiss    Movikon,    Zeiss    Sonnar    F:2    lens  and 

case.  $125.00. 
8mm.  Bolex.    I2y2mm.  Woilensak   F:l.9,    1"  Wollen- 

sak  F:2.7  focusing  mount,  11/2"  Meyer  Britar  F:2.7 

and  case,  $262.50. 
16mm.  Cine  Kodak  Model  E.  F:3.5  lens.  $32.50. 
16mm.  B.  &  H.  70A.  F:3.5  Cooke,  $44.50. 
16mm.  Keystone    Model    A-3,    1"    F:l.5  Woilensak, 

$54.50. 

16mm.  Filmo  121  Magazine,  Cooke  F:2.7  fixed  fo- 
cus, with  case,  $57.50. 

16mm.  Simplex  Pockette  Magazine,  F:l.9  Kodak 
Anastigmat,  optical  finder,  $64.50. 

16mm.  Cine  Magazine  Kodak,  F;l.9  lens,  with  case, 
$92.50. 

16mm.  Filmo  70A.  with  I'  Dallmeyer  F:0.99  focusing 
mount,  case.  $1 19.50. 

16mm.  Filmo  70A,  20mm.  Cooke  wide  angle  F:3.5 
fixed  focus,  I"  Cooke  F:l.8  focusing  mount,  3' 
Woilensak  F:4,  with  case,  $237.50. 

16mm.  Filmo  Autoload  Master  turret,  fitted  with 
15mm.  Woilensak  F:2.7  focusing  mount,  1"  Woi- 
lensak F:l.5,  3'  Woilensak  F:4,  $257.50. 

RARE  CINE  LENSES 

Write  for  current  quotations.  We  may  have  what 
you  want. 

USED  PROJECTORS 
8mm.  Keystone  C-8  ,  200  watt  lamp.  $22.50. 
8mm.  Keystone  J-8,  300  watt  lamp  and  case,  $29.50. 
8mm.  Kodascope   Model   80,   300  watt   lamp,  with 
case,  $47.50. 

8mm.  Kodascope  Model  70,  500  watt  lamp,  like 
new,  $54.50. 

8mm.  Revere  Deluxe,  500  watt  lamp,  with  case, 
$69.50. 

16mm.  Keystone  A  74,  300  watt  lamp  and  case. 
$27.50. 

16mm.  Bell  &  Howell,  400  watt  lamp,  2'  lens  and 
case,  $50.00. 

16mm.  Bell  &  Howell  Auditorium,   1200  watt  lamp, 

1600  ft.,  case,  $295.00. 
In  stock:  New  Filmomasters  8  &   16mm,  Ampro  8, 

Revere  Deluxe,  Keystone  A-82. 
Send   for   Bass   Supplementary   Price   List  of  Cine 

Equipment    up   to    date — silent   and    sound  and 

supplies. 

BASS  CAMERA  COMPANY,  Dept.  HC,  179  W. 
Madison  St.,  Chicago,  Illinois. 

•  FULL  LIST  PRICE  ALLOWANCE  for  your  East- 
man model  20  ,  25  ,  60,  or  Magazine  8mm.  camera, 
or  your  Bell  Howell  sportster  or  companion,  to  ap- 
ply on  new  Bolex  8mm.  camera.  IMMEDIATE  DE- 
LIVERY: New  Eastman  2  inch  1.6  lens,  6  inch  4.5 
telephoto,  4  inch  2.7,  Weston  Cine  Master  Meter: 
Cameras  ;ike  new:  B&H  Companion.  F  1.3  lens, 
$75.00-  Agfa  16mm.  3.5,  $37.50;  Simplex  Magazine 
with  FI.9  and  3  inch  4.5  and  case,  $75.00;  B&H 
Sportster.  2.5  lens,  and  windbak.  $60.00.  Bell  & 
Howell  70-D  with  1.5  leris.  $139.50;  Bell  &  Howell  70 
with  turret  front.  1.8  Cooke  lens,  $95.00;  8mm.  Per- 
fex  Magazine.  2.7  lens,  $44.50;  Univex  4.5  lens,  $6.50; 
B&H  automaster.  1.5  lens,  $153.00;  Bolex  16mm.  1.5 
lens,  $195.00;  Bolex  8mm.  F  1.9  lens,  $195.00;  Bell  & 
Howell  companion.  $39.50;  PROJECTORS:  Eastman 
16mm.  model  E,  750  watt,  $55.00;  Victor  model  II, 
750  watt  and  case,  $89.50;  Bell  &  Howell  showmas- 
ter  $149.50-  Bell  &  Howell  model  130.  1200  watt. 
$250.00-  Ampro  UB  sound  projector.  $375.00,  Bell  & 
Howell  120  FILMOSOUND.  $325.00;  39x52  tripod 
beaded  screens,  ne/r.  $14.75;  LENSES:  Hugo  Meyer 
Convertible  Plasmat  set  having  3'/2  inch  4.5,  4% 
inch  F8,  6  inch  F  6.3,  priced  at  $75.00  ;  2  inch  F  1.5 
Hugo  Meyer  Plasmat,  $79.50;  3  inch  F  1.9  Leitz  Hek- 
tor.  $99.50;  15mm.  Cooke  2.5  foe.  mt.,  $75.00;  M/2 
inch  Cooke  F  3.5  foe.  mt.,  $75.00;  2  Inch  Dallmeyer 
F  1.9,  $49.50;  3  inch  Dallmeyer  F2.9,  $49.50;  1  inch 
Hugo  Meyer  Plasmat  F  1.5,  $55.00;  6  Inch  Hugo 
Me/er,  F  4,  $85.00;  8mm.  wide  angle  lens  &  finder, 
$21.50.  ALL  ITEMS  LIKE  NEW,  Satisfaction  guaran- 
teed or  your  money  back.  NATIONAL  CAMERA 
EXCHANGE.  II  South  Fifth  Street,  Minneapolis, 
Minnesota.  

•  AUTOMATIC  fade-wipe  device  for  16mm.  Bolex 
with  frame  counter.  Baia  made,  senior  model,  cost 
$28.00.  Sell,  $12.00.  H.  MICHAELS.  398  Union  Ave., 
Paterson,   N.  J.  

•  EASTMAN  Kodascope  8,  model  40,  guaranteed 
working  condition  good  as  new.  Price  $24.00  de- 
livered. JOHN  D.  AURENZ,  601  Main  St.,  Lafay- 
ette, Ind. 


#  Have  you  Some- 
thing to  sell? 

Turn  It  into  cash  with  a  Home  Movies 
classified  ad! 

RATES:  Ten  cents  per  word;  minimum 
charge,  $2  cash  with  order.  Closing  date, 
lOth  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  S«nd 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


FILM  RELEASES 


EQUIPMENT  FOR  SALE 


•  J.  A.  LINDON,  8mm.  enthusiast  says;  "1  find 
your  catalog  superior  to  all  your  competitors,  not 
only  in  economy  and  quality,  but  in  downright 
friendliness!"  Your  copy  is  reserved  for  you,  too. 
Write  ESO-S  PICTURES,  3945  Central,  Kansas  City, 
Missouri. 

•  STEWART-Warner  16mm.  camera  with  following 
accessories:  special  custom-built  2-lens  turret  with 
standard  lens  mounts;  magnifying  focusing  tube; 
Bell  &  Howell  tubular  viewfinder;  and  lateral  shift 
alignment  gauge.  No  lenses.  $25.00.  BOX  77,  Home 
Movies,  6060  Sunset  Blvd.,  Hollywood. 

•  FACTORY  reconditioned  Amprosound,  $275.00. 
Immediate  delivery  on  new  Filmo  8mm.  projectors, 
cameras,  Weston  cine  meters  and  Victor  Animato- 
phone  sound  projectors.  WILFRED  NAYLOR,  1907 
North   Fifth  Ave.,   Birmingham,  Ala. 

•  BULK  Films:  8mm.  -  16mm.  -  35mm.  -  Join  our 
Yearly  Movie  Club.  Full  line  of  movie-still  camera 
films,  accessories,  supplies.  COLLIER  PHOTO 
SALES,  9508  Nelson,  Cleveland,  Ohio.  

•  FILMS  RENTED— America's  foremost  Home  Mov- 
ie Library;  low  rates;  catalogs  Free.  (State  model 
projector).  MOGULL'S,  55  West  48th,  New  York. 


WANTED 


•  WANTED— I6mm.  Bell  &  Howell  Filmo  D.  A. 
camera.  Or  what  have  you,  complete  and  in  first 
class  condition?  GEORGE  N.  LATHROP,  Bristol, 
Vermont. 

•  WANTED — sound  projector  in  good  condition. 
State  make  and  model  and  lowest  price.  FRANCES 
ALDRICH,  39  Hayes  St.,  Arlington,  Mass.  

•  CONTAX  11,  Sonnar  or  Tessar  f  1 .5  or  f/2  lens, 
any  condition.  Will  pay  cash.  BOX  88,  Home  Mov- 
ies, 6060  Sunset  Blvd.,   Hollywood,  Calif.  

•  USED  8mm.  films  and  equipment.  Spot  cash  high- 
est prices.  JOS.  L.  ANDRIEU,  24  S.  Salford  St., 
Philadelphia,  Pa.  

•  WANTED  —  used  equipment.  Bargain  list  on 
request.  PETERS.  41-B  So.  4th  St.,  Allentown,  Penna. 

TITLING 

•  TITLING  and  Close-up  Lens  Kit— Six  supple- 
mentary lenses  of  16",  18",  20",  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  all  titlers  which 
provide  for  Interchange  of  lenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  lenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO..  3221  So. 
Figueroa  St.,  Los  Angeles,  Calif.  

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
plete sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus.  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  and  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
all  titling  needs.  MIHENS  LETTER  CO.,  Redlands, 
Calif. 

DUPLICATING  SERVICE 

•  ESO-S  Monocolor  8mm.  dupes  of  /our  favorite 
films.  7hic  per  foot,  up.  ESO-S  PICTURES,  3945 
Central  St.,  Kansas  City,  Mo. 

PROCESSING  SERVICE 

•  MOTION  pictu/e  processing.  100'  16mm.,  75c; 
50'  16mm.,  50c-  25'  8/8mm.,  35c;  25'  8mm..  25c. 
RITTER  FILM  SERVICE,  629  Lyman  Ave.,  Oak 
Park,  III.  

•  ESO-S  is  licensed  by  Eastman  to  process  your 
double-8mm.  films,  45c.  ESO-S  PICTURES.  3945 
Central  St.,  Kansas  City.  Mo. 


•  1,000  SUBJECTS:  8rr,r-,.- I6r' (silent)  for  rent 
or  sale.  No  deposit  required.  Within  one  month 
you  have  the  right,  for  only  75c.  to  exchange  reels. 
Otherwise  our  new  plan  guarantees  you  75%  re- 
fund within  10  days.  ABBE  FILMS.  1265  Broadway, 
New  York. 

•  8mm.-l6MM.  sound  and  silent  films,  projectors, 
and  cameras — bought,  sold  and  exchanged.  Trades 
or  terms  accepted.  Free  bargain  bulletin.  ZENITH 
308  West  44th,  New  York. 

•  YOURS  for  the  asking!  Mammoth  40  page 
film  rental  catalog — silent,  sound,  8mm,  and  16mm. 
Forward  your  name  and  address  today.  NATIONAL 
CINEMA  SERVICE,  69  Dey  St..  N.  Y.  C. 

•  LATEST  Home  Movies.  Exchange,  sale,  rental. 
All  sales  guaranteed.  Free  catalogs,  bargain  list. 
Write  today.  BAILEY  FILMS.  1651  Cosmo,  Holly- 
wood. 

•  SELLING  OUT  200  reels  16mm.  slapstick  com- 
edies,, cartoons,  travels,  400  feet  each,  $3.95  each. 
Trades  50c  reel.  We  buy  anything.  BOBS  154  E. 
47th  St.,  N.  Y.  C. 

•  NEW  MOVIE  FILMS— wholesale  prices!  Free 
lists  and  catalogue  upon  request.  "Surprise"  sam- 
ples, lOc.  SUPERIOR  FILMS,  126  Fourth,  Paterson, 
New  Jersey. 

•  SEVERAL  16mm.  sound-on-fllm  features  and  com- 
edies for  sale,  $5.00  per  reel  and  up-  ROBERT 
WYGANT,   Heights  Theatre,    Houston,  Texas. 

•  100  FOOT  16mm.  sound  film.  95c.  All  sizes  film 
bought,  sold,  exchanged.  Catalogue,  sample  film 
lOc.  INTERNATIONAL,  2120  Strauss,  Brooklyn,  N.  Y. 

•  BARGAINS  In  16mm.  silent,  sound  film.  Lists  and 
sample  colored  film  lOc  coin.  WAVERLY,  5119-H 
South  St.  Louis  Ave.,  Chicago,  III. 

•  8MM.  FILMS!  All  major  producers.  New-used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL  FILMS, 
Dept.  HM-842,  3207  Joslyn  Rd.,  Cleveland,  Ohio. 

•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  BIdg.,  Boston,  Mass. 

KODACHROME  FILM  RELEASES 

•  KODACHROME  TRAVEL  FILMS.  Latest  releases 
now  available  for  distribution.  In  8  and  16mm.  A 
postcard  will  bring  listings.  KENWOOD  FILMS, 
818  E.  47th  Street,  Chicago,  111.  

•  MOVIES    for   grownups.    (Not   Arts).    Many  in 

Kodachrome.  8mm..  16mm.  Lists  Ha-d/  lers  cloth 
dime.  JENKINS.  392,  Elr^l^a.  N.  Y  

 FILMS  FOR  EXCHANGE  

•  I6MM.  FILMS  exchanged.  400  ft.  reel  silent.  $1.00; 
sound.  $2.00.  Latest  releases.  Free  40-page  cata- 
logue. BETTER  FILMS,  742  New  Lots  Ave.,  Brook- 
lyn, N.  Y. 

TRADE 

•  REVOLVERS  22  ra^ge-  oisrols,  automatics  and 
shotguns  accepted  in  traae  at  very  liberal  allow- 
ances on  all  makes  of  cameras,  projectors,  lenses, 
screens,  exposure  meters,  candid  cameras  and 
everything  photographic.  NATIONAL  CAMERA  EX- 
CHANGE, Established  1914.  II  So.  Fifth  St..  Min- 
neapolis. Mi". 

FILMS 

•  8MM.-I6MM.  Film,  including  processing,  day- 
light loading,  non-halation.  25  ft.  8/8mm.  Weston 
12  85c-  Wesson  24-16.  $1.25;  Weston  64-40,  $1.50. 
100  ft.  16mm.  Weston  12,  $1.85;  Weston  24-16,  $3.75; 
Weston  64-40.  $4.00.  RITTER  FILM  SERVICE,  629 
Lyman  Ave..  Oak  Park,  III. 

•  ESO-S  saves  you  50  per  cent  on  spooled  film 

costs.  What  '%  HOLLYWOOD  SEPIA?  See  page  322. 

PHOTO  FINISHING 

«  6  OR  8  exD05'..'e  rol'  fllr-  oeveiooed  and  print- 
ed gla-it  size  25c.  THRIFTY  PHOTO  Bor  46  So.f^- 
gate.  Calif. 

MISCELLANEOUS 

•  STILL  PHOTOGRAPHERS!  Be-ce  /our  photos 
of  Individuals  can  be  sold  with  safety,  you  must 
have  a  model  release  giving  legal  right  to  sell 
the  picture  for  publication  or  advertising  purposes. 
Model  release  forms  are  now  available,  read/ 
printed  in  authentic  legal  manner.  50  for  25c  (coin  I 
postpaid.  VER  HALEN  PUBLICATIONS,  6060  Sunstt 
Blvd.,  Hollywood,  Calif. 


FIRST  AWARD 


Home  Movies  1942  Annual  Amateur  Contest 


In  addition  to  the  Lloyd  Bacon  Trophy  for  best  film  submitted  in  contest,  there  will 
be  THREE  First  Award  trophies  for  best  films  in  Scenario,  Documentary  and  Family 
Films  classes.  Plaques  will  be  awarded  for  second  and  third  place  in  each  class.  In  addi- 
tion, SIX  trophies  will  be  awarded  for  achievement  in  photography,  editing,  titling, 
sound,  technical,  and  outstanding  amateur  club  activity.  Every  film  entered  has  a  chance 
to  win  one  or  more  awards. 


CONTEST  RULES 


•  Entries  limited  to  16mm.  and  8mm.  films.  No 
restriction  as  to  length  or  subject.  You  may  sub- 
mit as  many  entries  as  you  wish. 


of  a  main  title.  Professional  or  laboratory  pro- 
duced titles  are  permissible. 


•  Be  sure  to  label  your  film  reels  and  containers, 
giving  your  name  and  address  and  the  title  of  your 
production. 


•  Transportation  on  entries  must  be  paid  both 
ways  by  contestant.  AM  entries  will  be  promptly 
returned  after  review  by  judges. 


•  No  entry  blanks  are  necessary.  Enclose  data  with 
entry  as  to  camera,  lens,  and  film  used;  also,  state 
wliether  filters,  tripod,  exposure  meter,  and  any 
other  equipment  was  used.  This  information  has 
no  bearing  on  the  judging,  but  is  of  interest  to  the 
editors. 


•  Don't  wait  until  final  week  to  submit  your  films. 
Send  them  in  as  soon  as  ready. 


•  All  entries  should  be  titled  at  least  to  the  extent 


HOME  MOVIES 


HOLLYWOOD'S         MAGAZINE          FOR         THE  AMATEUR 


p^^^/^"Compamon'8  Camera 


To  BE  sure  of  getting  8mm.  movies 
you'll  be  proud  to  show,  use  the 
camera  that's  precision-built  by  the 
makers  of  Hollywood's  preferred 
studio  equipment... a  Filmo  8.  It  gives 
professional  results  with  amateur  ease. 

Loading  is  simple.  Film,  color  or 
black-and-white,  drops  into  place — 
no  sprockets  to  thread.  Then  sight 
through  the  fully  enclosed  spyglass 
viewfinder,  press  a  button,  and  what 
you  see,  you  get!  Lijetime  guarantee! 


Filmo  "Companion"  8  (pictured) 
is  palm-size,  weighs  only  24  ounces, 
and  has  a  built-in  exposure  calculator 
which  covers  every  outdoor  photo- 
graphic condition.  Operates  at  8,  16, 
24,  and  32  frames  per  second,  and 
makes  single-frame  exposures,  too, 
for  animation  work.  Lens  is  instantly 
interchangeable  with  extra  speed  and 
telephoto  lenses,  for  which  matching 
finder  masks  are  provided.  With 
12Hmm.  F  3.5  lens,  $52.80. 


B&H  Filmosound  Library  Offers 

AMERICANS  ALL 

A  Two-reel,  16mm.  Sound  Film 
Produced  and  Narrated  by 

JULIEN  BRYAN 

for 

The  Co-ordinator  of  Inter-American  Affairs 

With  animated  maps  and  quickly  moving 
camera,  Americans  All  gives  us  a  brief, 
ov€r-all  picture  of  our  fellow  Americans 
whose  homeland  stretches  from  Texas 
through  Central  America  to  the  very  tip 
of  South  America.  Subject  of  this  fast- 
moving  film  is  Latin  America's  exciting 
history,  varied  geography,  vast  resources, 
and  growing  industries;  its  schools, 
games,  work,  and  play.  The  accent  is  on 
youth;  a  major  portion  of  the  film  is  de- 
voted to  the  young  people. 

Many  other  films  on  Latin  America  are 
available  from  Filmosound  Library.  Lit- 
erature free  upon  request.  Filmosound 
Library  Catalog  Supplement  1942-A  lists 
more  than  200  new  film  subjects. 


TO  MAKE  YOUR  CAMERA  MORE  VERSATILE 


Telephoto 
Lenses 


Although  many  special-purpose  lenses  are  now 
very  scarce,  we  have  a  limited  supply  of  fine 
telephotos.  But  ask  your  dealer  tiow,  before  the 
most  popular  focal  lengths  are  unavailable. 
The  IV2"  F  3.5  B&H  Telate,  for  Filmo  8mm. 
Cameras,  is  $54.40;  the  2"  F  3.5  Telate  for 
Filmo  8's  is  $44.80.  For  l6mm.  Filmos  there 
are  2"  F  3.5  telephotos  at  $44.80  and  $75.75. 

FILMO  TRU-PAN  TRIPOD 

for  steady  pictures 

Fine  B&H  pan  and  tilt 
head  insures  smooth  ac- 
tion. Two-section  legs 
are  of  selected,  straight- 
grained  birch;  have  re- 
versible tips  —  steel  and 
rubber.  Price,  $20. 

TITLE-CRAFT  TITLES 

fo  dress  up  your  summer  films 

Made  to  your  order — any 
wording  you  desire  effec- 
tively displayed  on  any 
background  you  select 
from  the  scores  available. 
From  20c  for  8mm.;  from 
Latin  American  children  play  games,  too  2  5cfor  l6mm. 

Bell  &  Howell  Company,  Chicago;  New  York;  Hollywood;  Washington,  D.C.;  London,  istablithed  1907. 


Color 
Filters 

AU  Types 
Al!  Sixes 


B&H  Color  Filters  are  available  in  amber,  red, 
green,  and  neutral  density  types  for  mono- 
chrome work,  in  sizes  to  fit  all  Filmo  Camera 
standard  and  extra  lenses.  All  are  of  dyed 
optical  glass,  widely  preferred  for  its  stability. 
Also  available— Type  A  and  haze  filters  for 
Kodachrome. 


to  protect  your  films  for  the  summer 

Sturdy,  dust-tight,  compact  cases  of  welded 
steel,  with  humidifying  pad,  and  fins  to  hold 
each  reel  in  place.  For  8mm.  film:  capacity-,  six 
200'-reels,  $2.50;  12-reel  size,  S3. 50.  For 
l6mm.  film:  capacity,  six  400'-reels,  S3. 00; 
12-reel  size,  S4.50. 

Send  Coupon  for  Full  Details 


BELL  &  HOWELL  COMPANY 
1825  Larchmont  Ave.,  Chicago,  IlL 
Please  send  full  details  about:  ■  )  Filmo  8mm. 
Cameras;  (  )  Telephoto  Lenses:  (  )  Filmo  Tri- 
pods: O  Title-Craft  Titles;  )  B&H  Color 
Filters;  (  )  Film  Storage  Cases;  '  i  Films  on 
Latin  America;  (  )  Filmosound  Library  Sup- 
plement 1942-A. 


PRECISION 
MADE  BY 


YEARLY  SUBSCRIPTION,  $2.50 


September  •  1942 

HOLLYWOOD'S  MAGAZINE  FOR  THE  MOVIE  AMATEUR 


I 


^^^OOTER  M.CKEY- 

featuring 


featuring 

MICKEY  MOUSE  , 

..rn  hero  of  this  rollicking  tu  ^/,ckey 
arrives  in  the  nicK  o  • 

No.  MU-B.  B/..fc        ^'-'^  . 56.00 

200  Ft.  l^mm  .  -^^^^^^^^^^^^^    3. 00 

\00  Ft.  8""" 


^'TALE  OF  THE 

VIENNA  WOODS'' 

A  beautiful  animated  cartoon  picturing  the  esca- 
pades of  Pan  and  a  baby  deer.  Their  play  is  sud- 
denly Interrupted  by  hunters  but  Pan  cleverly  out- 
wits them  and  saves  the  deer.  The  excellent  music 
and  sound  score  ^aVes  this  one  of  Hugh  Harman's 
best  films.    No.  2129-C. 

In  16mm.  Sound! 

400  Ft.  (Approx.)  Black  &  White  $17.50 
400  Ft.  (Approx.)  Kodachrome   67.50 


DONALD 


BOSKO 


"THE    OLD  HOUSE" 

Bosko  and  Honey  enter  an  old  abandoned  house, 
convinced  there's  no  such  things  as  spooks.  But 
harrowing  experiences  with  spooks,  ghosts  and 
skeletons  soon  change  their  mind.  Music  and  sound 
effects  are  tops.    No.  2137-C. 

In  16mm.  Sound! 

400  Ft.  (Approx.)  Black  &  White  $17.50 
400  Ft.  (Approx.)  Kodachrome   67.50 


OUCK 

in 

"Dona/d's  Mexican 
»<omance" 

'n\ag,ne  Donald  Duck 
'^^dor,  serenading  sfnn  / 

No  need  to  lp^'T  .^^"'^^V- 
^°"°ws.   Donald  n  ^""^  ^^at 

fops.'   No.  T457.^_^^'^  "  ^'^^Vs 

2oo'f:'';;;/^"'-^"-o./, 


HOLLYWOOD  FILM  ENTERPRISES,  INC 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIF. 


MAGAZINE 


Subscription 
Order  Form 


ADVISORY  EDITORS 

((.  A.  K.  BAUMGARDNER 

Peoria  Cinema  Ciub 

;ter  bezek 

Chicogo  Cinema  Ciub 

,  JAMES  BIALSON 

Amateur  Motion  Picture  Club  of  St.  Louis 

.  MOSS  BROWN 

Dallas  Cinema  Club 

MLTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  Pa. 

^.  EMERSON  CLYMA 

Detroit  Society  of  Cinematographsrs 

USSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

;YRIL  DVORAK 

Suburban  Amateur  Movie  Club 

>RTHUR  E.  GIBBS 

Portland  Cine  Club 

AY  A.  HOOK 

Seattle  8mm  Club 

ALFRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

,  E.  NESTELL 

CInemen  Ctub 

JARCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

GILBERT  B.  PETERSON 

Metropolitan  Cine  Club 

^.  THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

.  PAUL  SNYDER 

Norfolk  Amateur  Movie  Ctub 

jEED  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 
■  SISSEL 

Austin  Movte  Club 

:URTIS  O.  TALBOT 

Metro  Movie  Club  of  Chicago 

»ered  as  Second-Class  Matter.  May  4,  1938.  at 
e  Po$*office  at  Los  Angeles,  Calif.,  under  fhe 
Act  o(  March  3.  1879. 

bscriplion  rates:  U.  S.  $2.50  per  year.  Canada 
d   Foreign   Countries,   $3.S0   per  year.  Single 
pies  25c.  Canadian  i  Foreign  single  copies  J5c. 
Advertising  rales  on  application.  , 


.  oome  

MOVIES 


•^•■CP  •e,,,  happy,  „„j 
^o'- Bonds  a„d  Slamps! 


PPy!  Buy  v.  S. 


Rtg.  U.  S.  Fat.  Off. 


Copyright  1942  and  published  monthly  by  Ver  Halen 
Publicationt,  Hollywood,  Calif.  No  part  of  magazine 
may    be    reprinted    without    specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  SEPTEMBER,  1942 

THE   READER   SPEAKS...      342 

INFORMATION    PLEASE    344 

REVIEWS  OF  AMATEUR  FILMS  B}'  J.  H.  SchoCH   346 

FILMS  THAT  FIGHT  FIRE — By  Jack  Irwin   349 

MOVIE  OF  THE  MONTH  By  J.  H.  SchoCtl   35O 

Britain's  amateurs  go  to  war — By  Holton  Howell   351 

COLOR  isn't  everything — By  Curtis  Randall   352 

WHAT  the  beginner  SHOULD  KNOW  ABOUT  TITLING 

— By  Stanley  E.  Andrews  353 

NEW  FILMS  FOR  CINE  STAY-AT  HOMES  By  J.  H.  Schoen   354 

HOW  TO  CALL  YOUR  SHOTS   355 

KEEPING  FILM  AND  RECORDINGS  IN  "sYNc" — By  Stanley  E.  Jepson  356 

TEST  YOUR  TITLES  FOR  BEST  RESULTS — By  GeoYge  W.  Ciishman  ...  3  57 

EXPERIMENTAL    CINE    WORKSHOP     358 

IF  YOU  WANT  A  FILM  TO  SHOW   360 

SUCCESSFUL  CLUB  PROGRAM  IDEAS    3  70 

TITLE  TROUBLES — By  Geovge  W.  Cushman   371 

HOME  MOVIE  TITLES — By  Edmtind  Turner     371 


CHAS.  J.  Ver  HALEN 

PUBLISHER 


ASSOCIATE  PUBLISHER 
C.  I.  Ver  HALEN.  JR. 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Cellert,  62  West  45th  Street 
Vanderbilt  6-5254 


SEPTEMBER 

Q42 

NUMBER  9 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
).  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S 


MAGAZINE 


FOR 


THE 


MOVIE 


AMATEUR 


PACE  342 


HOME  MOVIES  FOR  SEPTEMBER 


Ifsa 


The  Reader 


BIG  HIT 

mfh  P/iofv  fvns/ 

THE  NEW 

G-E 

PHOTO  DATA  BOOK 

(more  fhan  50,000  of  the  1940  ed/f/on 

;n  use. 

New    1942    edit/on,    comp/efe/y  nvifd, 
now  ready! 


1 


1 


TELLS  how  to  get  more  out  of 
your  meter  for  movies  or  "stills". 

SUGGESTS  easy  way  to  correct 
F-stop  value  for  extreme  close- 
ups. 

EXPLAINS  how  to  make  "stills" 
by  metered  flash,  and  how  to 
control  background  emphasis. 

9  You'll  like  this  handy  guide  to  better 
pictures!  Its  112  pages  are  fuU  of  prac- 
tical picture-making  tips,  useful  tables, 
essential  technical  data,  and  helpful  sug- 
gestions corering  all  angles  of  black- 
and-white  and  color  photography.  Actual 
size,  3  by  5  inches. 

Includes  film  speeds,  movie-camera  shut- 
ter -speeds,  developing  formulas,  correct 
Hash  exposures,  (japer  and  film  speeds, 
filter  factors,  and  other  data  essential  to 
good  picture  making.  Fifty  cents  at  your 
dealer  "s.  G/tieral  Electric  Company, 
Scheneciady,  .V.  }'. 

★       ★  ★ 

If  your  dealer  cannot  now  sup- 
ply you  wlrti  a  G-E  exposure 
meter,  here's  the  reason.  Ma- 
terials end  facilities  are  need- 
ed to  produce  equipment  for 
our  armed  forces  and  vital 
war  industries.  Our  efforts 
are  being  expended  to  speed 
VICTORY  for  the  United  Na- 
tions. We  know  you'll  un- 
de^tond. 


Keeps  Camera  Busy 

Here's  a  timely  idea  for  amateurs  lim- 
ited to  s/jootitig  in  their  immediate 
neighborhood  due  to  limitations  placed 
on  travel: 

Dear  Editor:  I  have  been  reading 
vith  considerable  interest  letters  from 
various  readers  published  under  the  de- 
partment heading,  "How  I  Keep  My 
Camera  Busy."  Now  I'd  like  to  tell  you 
how  I  keep  mine  busy. 

Having  several  friends  and  neigh- 
bors who,  or  whose  children,  owned  in- 
expensive toy  projectors  but  no  cam- 
eras, I  canvassed  them  and  offered  to 
shoot  pictures  of  their  children,  etc., 
charging  only  for  the  film  used.  The 
suggestion  met  with  immediate  approv- 
al and  I  soon  found  myself  and  my 
camera  working  overtime. 

Friends,  who  before  advent  of  my 
suggestion,  admired  screenings  of  my 
movies  and  who  had  only  commercially 
made  short  reels  to  project,  now  are 
grateful  they,  too,  can  have  movies  of 
their  children  and  families  to  screen. 

— Vaughn   K.  Heiner 
California,  Pa. 

Patriotic  Effort 

Reader  Banning  is  to  be  commended 
for  his  individual  efforts  as  outlined  in 
his  letter.  No  doubt  otfjer  movie  ama- 
teurs uill  adopt  the  idea: 

Gentlemen:  I  believe  other  readers 
will  be  interested  in  an  activity  which 
I  have  recently  undertaken  to  contribute 
in  a  humble  way  to  the  war  effort.  I  have 
purchased  all  the  latest  war  film  re- 
leases by  Castle  Films  and  others  and 
have  regularly  been  screening  them  at 
local  Air  Raid  'harden  meetings.  In  this 
way,  the  ^"ardens  are  shown  real  war  as 
it  exists  today  and  gain  a  more  impres- 
sive feeling  for  their  responsibilities. 
Some  of  the  films  are  instructional, 
demonstrating  the  duties  of  various  ci- 
vilian defense  volunteers. 

This  screening  service  I  hav.  person- 
ally conducted  gratis.  The  idea  has  be- 
come so  popular  that  we  are  completing 
plans  to  give  regular  showing  of  the 
films  in  churches  and  school  auditor- 
iums, selling  '^ar  Stamps  for  admission. 

Other  amateurs  can  adopt  this  idea 
to  personally  do  a  bit  to  aid  the  war  and 
at  the  same  time  enlarge  their  circle  of 
friends  and  also  their  prestige  as  movie 
amateurs. 

— George  C.  Banning, 
Columhus,  Ohio 


S  P  E 1 K  S 


A  Better  Way 

where  there's  a  cinebu^  there's  a  way 
to  get  a  thing  done!  We  like  th:s  idea, 
know  it  uill  work  if  hard  finished  pa- 
per is  used  for  title  card.  If  paper  is  too 
soft,  talc  won't  brush  off  easily: 

Dear  Sirs:  In  the  article,  "A  Home- 
made Press  for  Printing  Titles"  by 
George  Carlson  in  the  July  issue,  it 
states  that  unless  a  special  white  ink  is 
used,  lettering  will  apjjear  more  grey 
than  white.  This  may  be  overcome  by 
dusting  the  freshly  printed  title  card 
with  talcum  powder.  After  the  ink 
dries,  surplus  talcum  may  be  brushed 
away,  leaving  the  lettering  chalky 
white  with  a  soft  finish  that  photo- 
graphs well. 

The  same  principle  may  be  used  for 
printing  titles  for  Kodachrome  on  col- 
ored cards  with  white  ink.  Instead  of 
using  talcum,  colored  bronze  powder 
may  be  dusted  over  the  letters  and  al- 
lowed to  dr}'.  The  powders  may  be  pur- 
chased in  art  stores  or  paint  supply 
houses. 

—P.  C.  Hanger 

A  r testa.  Sew  Mex. 

Wants  and  Swaps 

Opportunities  to  furnish  a  brother 
cinebug  uith  needed  footage  or  to  ex- 
change film: 

Dear  Sirs:  I  need  8mm.  Kodachrome 
footage  of  Yellowstone  Park  and  Salt 
Lake  City.  Vill  appreciate  hearing  from 
amateurs  having  such  footage  to  sell  or 
exchange. 

— George  E.  Abel, 
P.  O.  Box  I07J, 
Cincinnati 

Gentlemen:  I  have  approximately 
11$  feet  of  8mm.  Kodachrome  of  the 
last  C1941)  Pasadena  Tournament  of 
Roses  Parade.  These  scenes  are  more 
valuable  now  that  this  annual  event  is 
cancelled  for  the  duration.  Vill  trade 
for  unexposed  Kodachrome  film. 

— /.  O.  MacCracken, 
1415  Capislrano, 
GlrnJale.  Calif 

Gentlemen:  I  would  like  to  get  in 
touch  with  8  mm.  Reel  Fellows  or  other 
amateurs  who  have  extra  Kodachrome 
footage  of  the  various  natural  wonders 
of  the  U.  S.  A.  for  my  reel  "Places  I 
would  Like  To  See  But  Cannot." 

— P.  S.  Broun, 

47S  E.  19th  St., 
Peterson,  N.  J. 


GENERAL  ®  ELECTRIC 

-  ■  "  I 


HOME  MOVIES  FOR  SEPTEMBER 


PACE  343 


HOWS  OI¥H  CASnE  HiMS' 


FOR  ALL  8MM.  and  t6MM.  PROJECTORS 


See  the  mighty  struggle  for  possession 
of  Alexandria  and  Suez!  Actual  battle 
scenes  filmed  under  fire  by  death-defy- 
ing cameramen!  See  the  surging  tide  of 
battle  as  the  forces  of  Rommel  and 
Auchinleck  lock  in  a  fight  to  the  finish! 
See  war  in  all  its  fury!  Shells  bursting! 
Tanks  and  planes  exploding!  Men  at- 
tacking and  counter-attacking!  Close- 
up  shots  of  dive  bombers  attacking 
convoy!  Night  and  day  battling  on 
land,  sea,  and  in  the  air!  War  pictures 
like  these  have  never  been  filmed  be- 
fore! An  astounding  movie  record  that 
is  a  must  for  every  projector  owner! 
Own  it  now! 

All  Castle  16  mm.  films  are  Vap-O-Rated. 
All  Castle  8  mm.  films  are  also  treated. 


°  oaval  base,  ao  »cHON"- 
"ftR"***Jid  on  Na"  ...  heroic 


Send  Castle  Films 
"FIfht  lor  Empt" 
In  the  size  and 
lencb  checked. 

5011.1  mm. 

$1.75  □ 

180  It.  1  mm. 

$5.50  □ 

100  (t.  16  mm. 

$2.75  □ 

360  It.  16  mm. 

$8.75  □ 

350  It.  16  mm. 

$17.50n 

'  SOUND) 

RUSS  BLDG. 
SAN  FRANCISCO 


I  ©  1942  CASTLE  FILMS,  INC.  J 


Remittance  enclgsed  □    Ship  C.  0.  D.  □    Send  Castle  Films' 
FREE  Cataloeue  □ 


Name- 


Address- 
City  


State- 


HM-9 


PACE  344 


HOME  MOVIES  FOR  SEPTEMBER 


INVEST  IN 
THE  FUTURE 


BUY  U.  S. 
WAR  BONDS 
AND  STAMPS 

TODAY! 


INVEST  IN  REAL 
MOVIE  PLEASURE 

.  .  .  and  get  dividends  in  finer 
pictures — at  prices  that  per- 
mit you  to  buy  more  WAR 
STAMPS  with  the  money  you 
save.  Though  you  pay  less  for 
KIN-O-LUX  than  for  any 
other  film  of  comparable 
quality  —  you  get  a  speed 
and  latitude  that  "gets"  the 
picture  and  a  projection 
quality  that  makes  experi- 
enced camera  users  say  .  .  . 


KIN-O-LUX 


2. 


3. 


Weston  8,  Schelner  II 
$3  20-100  fl. 

Outdoor 

Wetton  12,  Schemer  20* 
J3  75-100  h. 

Indoor  •  Outdoor 

Weiton  50,  Tung  40 
ScKerner  26  ;  Tung.  24 
V6  00-100  fl. 

3.00LD  SEAL  Indoor  Only 

Weiton  lOO;  Schelntr  29* 
'No  Outdoor  Ratingi) 
J6  40-100  ft. 


3niormatlon  mm 


Blurred  Closeups  (Gerald  Provost, 
Sacramento,  Calif. j 

Q.  Recently  I  made  c  closeup  shot 
of  a  letter  as  an  insert  for  an  amateur 
photoplay  we're  producin'^.  The  results 
were  disappointing.  The  whole  letter 
was  out  of  focus  although  I  set  my  lens 
to  shoot  at  the  closest  possible  distance. 
How  can  I  get  sharp  focus  in  a  shot  of 
this  kind? 

A.  By  using  an  auxiliary'  lens  before 
your  regular  camera  lens;  a  wide  angle 
lens  which  usually  permits  shooting  at 
distances  as  close  as  i8  inches;  or  a  tel- 
ephoto  lens.  Lacking  the  last  men- 
tioned lenses,  you  will  probably  find 
the  auxiliar)'  lens  the  simplest  and  least 
expensive.  First  determine  at  what  dis- 
tance camera  is  to  be  focused  on  letter 
to  obtain  the  required  area,  then  pur- 
chase lens  of  necessarj'  diopter  size  for 
the  focusing  distance. 

The  following  table  will  aid  in  de- 
termining size  of  auxiliary  lens  to  use. 
Figures  in  first  column  indicate  focus- 
ing disance;  those  in  second  column  in- 
dicate diopter  size.  In  purchasing  lens, 
order  it  according  to  diopter  figure: 


8  inch 
10  inch 
12  inch 
1 6  inch 
20  inch 
26  inch 
32  inch 


5  Diopters 
4  Diopters 
3  Diopters 
2  Yz  Diopters 
2  Diopters 
I  J/2  Diopters 
I  %  Diopters 


riN^-lUX    •    105  W    40  ST.    •    NEW  YOM 


Safelight  Safety  (August  Werner, 
Milwaukee,  Wise.) 

Q.  In  working  with  positive  film  in 
the  darkrof/m,  how  close  to  a  red  safe- 
light  may  one  work? 

A.  It  would  depend  upon  power  of 
safelight  lamp.  While  darkroom  safe- 
lamps  are  supposed  to  be  just  that — 
safe — it  is  wise  not  to  subject  any  film 
to  the  safelight  for  too  long  a  time. 
Using  ordinar)'  care,  we'd  say  an  ex- 
posure of  as  much  as  lo  minutes  would 
do  no  appreciable  harm  if  the  lamp  was 
kept  at  a  distance  of  two  feet  or  more. 

Tinting  Film  (Ernie  Rapper,  Chicago. 
111). 

Q.  7  haie  just  tiewed  the  results  of 
my  first  attempt  to  tint  some  black  and 
white  film  with  a  commercial  dye  sim- 
ilar to  Tintex.  Results  are  very  unsat- 
isfactory. Chief  trouble  is  that  film  did 
not  take  dye  evenly.  It  is  tinted  heavier 
at  some  points  than  at  others.  There  are 
many  streaks  and  spots,  too.  What  is 
my  trouble? 


•  RtADLUS:  Thi:  departmint  11  for  your 
henffii.  Send  in  y/ur  problemt  and  nui 
technical  board  of  profenional  cameramen 
u^ilt  aniu-er  )r/ur  queitif/n  in  iheu  col- 
umnt.  If  an  ansuer  by  mail  if  deiired, 
enclose  addrened  1  tamped  ent elope. 


A.  Tmting  is  the  process  which  col- 
ors the  film  base.  Toning  is  the  process 
which  colors  the  film  emulsion.  You 
have  tried  the  latter.  Reason  results 
were  not  successful  is  that  you  failed 
to  soak  film  in  clear  water  first  to  soft- 
en the  emulsion,  and  thus  prepare  it  to 
take  the  dye  more  readily  and  evenly. 

Right  Exposure  CCharles  T.  Meredith, 
Danburj',  Conn.j 

Q.  In  calculating  an  exposure  for  a 
scene  composed  of  one  person  against  a 
mixed  background  of  lou  foliage  and 
bright  sky,  should  I  take  the  meter  read- 
ing from  camera  position  or  with  meter 
held  close  to  the  person  in  the  scene? 

A.  Assuming  the  scene  in  question  is 
composed  of  considerable  sky  area  and 
that  the  effect  desired  is  to  photograph 
features  of  the  person  within  the  scene 
in  normal  tones,  we  would  say  that 
reading  should  be  taken  close  lo  the  per- 
son and  particularly  of  the  face,  inas- 
much as  you  would  want  the  facial 
features  fully  exposed.  To  take  meter 
reading  from  camera  f)osition  would  re- 
sult in  underexposure  of  the  person  a! 
the  great  expanse  of  sky  would  unduly 
influence  the  meter  with  relation  to  the 
important  subjects  within  the  scene. 

Follies  Shots  (Sam  Bergman,  Los  An- 
geles, Calif.; 

Q.  When  the  Ice  follies  open  up  here 
this  season  I  uish  to  make  movies  of  the 
entire  show  in  Kodachrome.  My  lens  is 
an  F  1.9.  Can  I  successfully  use  regu- 
lar Kodachrome  for  filming  this  event? 

A-  Much  depends  upon  the  lighting 
that  will  prevail.  However.  Type  "A" 
Kodachrome,  not  Regular,  is  the  film  to 
use.  It  is  one  stop  faster  under  artificial 
light  than  regular  Kodachrome  and  is 
especially  color  balanced  for  filming  un- 
der incandescent  lighting. 


HOME  MOVIES  FOR  SEPTEMBER 


PAGE  345 


CASTLE  FILMS  PRESENTS  /^£l^ 

im  01  miUI  DETEIIiiE 

JMll  DIFFERENT  SUBJECTS 

Of  Vital  Interest  to  Individuals,  Civilian  Defense  Groups,  Plant  Employees  — 
All  Concerned  With  Furthering  The  War  Effort  I 

8nim.-16mm.  TITLED  OR  SOUND 


''AIR  RAID  WARNING" 


An  authentic  film  which  instructs  air 
raid  wardens  in  specific  duties.  Also 
instruas  householders  what  to  do  in 
case  of  an  air  raid  warning.  Black- 
outs. Refuge  rooms.  Necessary  equip- 
ment. Do's  and  don't's  presented 
graphically,  powerfully.  The  picture 
that  should  be  shown  at  every  post  in 
every  neighborhood. 


f^Qpi"!  DESCRIPTIVE  CATALOGUE 
rift  11  I  OF  FILMS.  CHECK  iELOW 
POa  YOUR  FREE  COPY. 


CIVILIAN  FIRE  FIGHTERS" 


The  incendiary  bomb,  and  how  to 
fight  it.  How  to  open  doors  in  burn- 
ing buildings.  Types  of  hydrants.  Lad- 
ders. Leg  holds  and  lock  holds.  Hose 
loading.  Civilian  preparation  for  fire- 
fighting.— A  thorough,  gripping  film 
that  can  help  to  save  lives  and  prop- 
erty in  your  town  or  village,  or  your 
industrial  plant.  Own  it  now! 


''THE  CIVILIAN  SERVES 


Every  home  on  the  battlefront.  All 
able-bodied  citizens  can  serve.  The 
Staff  Corps.  Messengers.  Rescue 
squads.  Auxiliary  police.  Air  raid 
wardens.  Auxiliary  firemen.  Fire 
watchers.  Demolition  crews.  Other 
groups  in  which  citizens  can  play  a 
vital,  helpful  role  in  winning  the  war. 
This  film  impresses  the  need . . .  urges 
all  to  serve.  Own  it!  Show  it  in  your 
locality  NOW! 


EACH  SUBJECT 


8MM.  TITIED  VERSION 

$5. SO 

16MM.  TITIED  VERSION 

$8.75 

16MM.  SOUND-ON-FILM 

$  1 7.  5  0 

All  Castle  I6inin.  Films  are  VAP-O-RATED 
All  Castle    8mm.  Films  are  also  treated. 


I 

I  PIms*  stnd  the 

motion  pictures 
checked  In  tlie 
size  end  edition 
Indicated : 


ORDER  FORM  • 


AT  YOUR  PHOTO 
DEALER-OR  SEND 
THE  HANDY  ORDER 
FORM  BELOW  TO 


RCA  llDt. 
new  YMK 


RELD  BIDG. 
CWCAM 


RUSS  ILOC. 
SAN  FRANCISCO 


PACE  346 


HOME  MOVIES  FOR  SEPTEMBER 


Put  Color  in  your 
black  and  white  movies 
with 

Gne-Tintors 


Set  of  4  Monochrome 
Projection  Filters 

Black-and-White  Cine-films  will 
screen  in  greater  glory,  if  tinted 
by  the  simple  expedient  of  slipping 
one  of  the  coloring  filters  over  the 
front  of  the  projection  lens  . 

For  instance,  blue  for  snow-scenes 
and  sea,  red  glow  for  sunsets,  green 
for  masses  of  forest  and  lawns, 
mellow  yellow  for  late  afternoon 
and  even  to  "warm  up"  Koda- 
chromes. 

The  four  tints  of  the  set  will  lend 
new  enchantment  to  old  reels 
which  can  be  brought  to  the 
screen  again  "looking  different." 

The  six  adjustable  prongs  of  the 
mount  will  make  a  perfect  fit, 
secure  and  yet  easily  detached. 

FOUR  POPULAR  SIZES 

(Order  By  Size) 

22MM. 

"Keystone  8mm.    "^'E.  K.  Mod.  8o 
27MM. 

"E.  K.  Mod.  70  "  Revere 

32MM. 

Keystone  A-7j-i6mm. 
=-E.  K.  16-10        =-B.  &  H.  8mm. 

38MM. 

B.  &  H.  1 6mm. 
Keystone  A-82  "■'Ampro 

$2.95 

•Adjust  piongs 

Mail  Orders  Filled 


no  West  32nd  Street,  N.  Y. 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 

Established  1898 


mm... 


0/  cAmateur  ^ilm^ 


B  y 


S       C        H        0        E  N 


A 


MATEURS  whose  films  are  re- 
viewed here,  already  have  received  a 
written  criticism  of  their  pictures  with 
suggestions  for  improvement  where 
possible.  What  follows  is  intended  to 
point  out  to  readers  what  clever  cine- 
matic touches  are  devised  or  the  errors 
made  by  other  amateurs,  with  the  ob- 
ject of  improving  the  reader's  filming 
technique.  There  may  be  just  a  single 
idea  here  that  you  can  use  or  a  criticism 
that  applies  equally  to  your  movie 
making.  Some  of  the  films  described  are 
entered  in  the  1942  contest. 

Easily  a  three-star  picture  is  "Six  To 
Six  With  Baby"  filmed  in  8mm.  Koda- 
chrome  with  an  Eastman  Model  60  by 
John  L.  Young  of  Los  Angeles,  Calif. 
It  is  a  delightful  record  of  a  baby  that 
demonstrates  what  one  can  do  with  a 
little  imagination  to  turn  out  a  picture 
that  is  far  and  above  the  average  baby 
movie. 

Good  camera  and  titling  technique  is 
immediately  evident  as  the  picture 
opens.  The  main  and  credit  titles  are 
well  executed  and  fades  and  dissolves 
make  for  smoothness  throughout. 

The  camera  fades  in  on  the  opening 
scene  of  an  ornamental  alarm  clock  on 
a  bedside  pedestal.  Shadows  from  low 
side  lighting  indicate  it  is  early  morn- 
ing. There's  a  cut  to  a  sunrise  scene  then 
to  a  child's  crib.  The  camera  picks  him 
up  as  the  tot  actually  awakens,  rubbing 
his  eyes  then  starting  to  cry. 

In  an  adjoining  bedroom  mother 
awakens  at  sound  of  the  cry.  She  hustles 
out  of  bed  and  to  the  child's  nursery. 
Taking  the  baby  in  her  arms,  she  then 
proceeds  to  give  him  his  bottle. 

There  are  some  rare  shots  of  the  child 
grabbing  the  nursing  bottle  and  putting 
it  hungerly  to  its  lips  that  are  very 
amusing. 

Following  this  is  a  sequence  showing 
baby  being  bathed  and  dressed  and  other 
sequences  follow  to  picture  the  baby's 
day  with  mother  and  father.  Each  se- 
quence is  treated  as  a  unit,  beginning 
with  an  identifying  title  and  ending  in 
a  fadeout. 

The  photography  is  excellent  and 
editing  is  among  the  best  seen  by  this 
reviewer  in  some  time.  There  are  spots 
where  some  might  criticise  the  length 
of  a  scene,  but  these  are  intimate  shots 
of  the  baby — prized  possessions  which 


•  All  amateurs,  whether  subscribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  stars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 


no  father  would  trim  even  a  frame! 

Use  of  an  exposure  meter  and  a  stur- 
dy tripod  throughout  contributed  much 
to  the  excellent  pictorial  quahty  of  this 
picture. 

A«  R.  Bowen  of  Denver,  Colorado, 
has  produced  a  2 00 -foot  8mm.  black 
and  white  film  entitled  "46  For  Safety." 
What  the  figure  46  stands  for  is  un- 
explained but  the  picture  is  intended 
for  general  showing  as  a  means  of  im- 
pressing upon  the  public  the  precautions 
they  should  take  in  ordinary  everj-day 
routines. 

The  first  sequence  demonstrates  the 
folly  of  leaving  home  for  the  office  at 
the  last  possible  minute  and  then  at- 
tempting to  make  up  lost  time  on  the 
highway.  A  two-car  crash  foUov.'s  and 
activities  of  the  police  department  are 
shown  in  detail  as  poHce  take  charge 
of  the  crashed  cars  and  the  victims. 

Carelessness  in  the  home  is  demon- 
strated by  a  youth  attempting  to  de- 
scend a  stair  while  burdened  with  a 
stack  of  boxes.  He  tumbles  down  the 
stairs,  breaking  an  arm,  and  a  member 
of  the  family,  skilled  in  first  aid,  is 
shown  treating  the  injured  man. 

Other  sequences  follow,  each  of 
which  demonstrates  an  important  safe- 
ty lesson.  Chief  criticism  is  that  con- 
tinuity throughout  the  picture  needs 
smoothing  out.  There  are  frequent 
abrupt  jumps  from  one  bit  of  action  to 
another  that  taxes  the  audience's  imag- 
ination. 

Outstanding  are  the  titles  and  the 
smooth  manner  in  which   fades,  dis- 
•  Continued  on  Page  )6i 


Through  a  vent  in  the  bottom 
of  the  film  track,  Fan  No.  1 
draws  clean,  cooling  air^O 
directly  against  the  film  as  it 
passes  through  the  film  gate. 

Fan  No.  2  forces  cooling  air 
through  the  lamp  house  where 
it  rapidly  dissipates  the  heat 
and  thus  prolongs  the  life  of 
the  lamp  and  the  film. 


FANS 

(instead  of  ONEjj 

WHEN  YOU  USE  A 

PROJECTOR 

The  Revere's  double  blower  cooling  system,  with  a  jan 
for  the  lamp  and  a  separate  fan  for  the  film,  draws  cool  air 
from  outside  the  projector  directly  against  the  film  in  the 
film  gate.  Because  this  air  does  not  pass  through  the  motor 
before  reaching  the  film,  it  is  always  free  from  oil  particles 
— always  clean! 

For  further  protection  of  film,  special  roller  film-guides 
hold  the  film  in  place  on  the  large  15 -tooth  sprockets,  pre- 
vent damage  to  perforations  and  insure  smooth  travel 
through  the  projector.  A  <)Oo-watt  optical  system  for  bril- 
liant illumination,  fast  power  rewind,  radio  interference  \ 
eliminator,  fully  enclosed  precision-built  mechanism  and 
other  advanced  features  make  the  Revere  Projector  first 
choice  of  experienced  movie  makers.  Sold  by  leading  dealers. 
Write  for  literature.  Revere  Camera  Company,  Chicago,  111.  ' 


WAR  SAVINGS  ^ 
^    BONDS  and  ^ 
^  STAMPS  ^ 


REVERE  MODEL  85  PROJECTOR 

has  duo-shield  light  diffuser,  beam  thread- 
ing light,  sensitive  gear-tilting  device  and 
deluxe  carrying  case.  Connplete  with  500- 
watt  lamp,  F  1.6  lens.  Deluxe  carrying  case 
and  one  300-ft.  reel,  $89.50. 


REVERE  8MM. 
CAMERAS 

Model  88  has  exclusive 
reciprocating  sprocket 
control  for  steady  mov- 
ies, 5  speeds,  Eastman- 
licensed  spool  and 
spindles,  and  many 
other  advanced  fea- 
tures. With  Wollensak 
F3.5  lens.  $38.50. 

Model  99  has  same 
basic  features  as  "88'' 
plus  turret  head  for  3 
screw-type  lenses  and 
extra  optical  view  find- 
er for  use  with  tele- 
photo  lenses.  With  one 
Wollensak  F  2.5  lens, 
$77.50. 


Shot  of 


a  shot 


THE  clear,  sharp  results  possible  with  Agfa  Ansco  8  and  16mm. 
Hypan  Reversible  Film  have  made  it  a  favorite  among  all 
movie  enthusiasts.  Have  you  ever  tried  it? 

Agfa  Ansco  Hypan  is  ideal  for  general  outdoor  work  and  has  suffi- 
cient speed  for  much  of  your  indoor  shooting  as  well.  It  has  full  pan- 
chromatic color  sensitivity,  plus  fineness  of  grain. 

And  its  exclusive  Agfa  Ansco  anti-halation  coating  helps  to  insure 
the  sparkling  brilliance  characteristic  of  this  film  when  projected. 
Stop  at  your  dealers  today.  16mm.  Hypan  in  100  ft.  rolls  retails  for 
$6.40,  in  50  ft.  rolls  for  $3.45;  Twin-Eight  Hypan  is  only  $2.40  for 
a  25  ft.  (double-width)  roll.  Agfa  Ansco,  Binghamton,  N.  Y. 


Agfa  Ansco 

8  and  16mm  HYPAN 
REVERSIBLE  FILM 

MADE  IN  U.S.A. 

A  Century  of  Service  to  American  Photography 


HOME  MOVIES 

Published  in  Hollywood 
SEPTEMBER  1942 


•  Frame  enlargements  from  F.  J.  Robertson's  16mm.  Kodachrome  Forest 
Defense  film  now  nearing  completion. 


ITH  closing  date  of  Home 
Movies'  1942  Amateur  Contest  less 
than  30  days  away,  movie  amateurs 
who  volimteered  to  produce  Forest  De- 
fense pictures  are  putting  final  touches 
on  their  films  with  but  a  single  thought 
in  mind — winning  the  special  trophy 
to  be  awarded  by  the  U.  S.  Forest  De- 
partment's Los  Angeles  regional  office 
for  the  best  Forest  Defense  film  entered 
in  the  contest. 

Ever  since  the  Forest  Defense  filming 
project,  sponsored  by  Home  Movies, 
was  announced  in  the  May  issue,  scores 
of  patriotic  movie  amateurs  from  coast 
to  coast  have  busied  themselves  with 
script  writing,  location  hunting,  and 
filming  of  scenes  necessary  to  their  pic- 
tures. Among  the  first  to  contribute 
movie  making  talents  in  the  cause  of 
safeguarding  our  national  forests  for 
defense  production  were  Francis  B. 
Whitman,  Winsted,  Conn.;  Grover  Sey- 
fried,  Ann  Arbor,  Mich.;  D.  Splaver, 
Visalia,  Calif.;  John  B.  Gale,  Los  An- 
geles, Calif.,  and  F.  J.  Robertson,  Corn- 
ing, Calif. 

These  filmers  early  realized  the  op- 
portunity which  the  project  presented 
to  utilize  their  home  movie  hobby  in 
contributing  a  share  to  civilian  defense. 
They  were  quick  to  solicit  the  counsel 
of  William  Mendenhall  and  Arnold  Lar- 
son of  the  Los  Angeles  regional  office 
of  the  Forest  Service  in  securing  data, 
ideas,  and  the  little  red  Fag  Bags  men- 
tioned earlier  in  Home  Movies  as  an 
important  "property"  in  the  special 
script  published  in  the  June  issue. 

The  editors  have  been  privileged  to 
preview  a  part  of  the  Forest  Defense 
film  now  in  production  by  F.  J.  Robert- 
son of  Corning,  Calif.  Ironically,  Rob- 
ertson had  been  planning  a  i6mm.  Ko- 
dachrome movie  on  the  subject  of  for- 
est fire  prevention  when  announcement 

349 


9Um^  tkat  light  FIRE 

Volunteer  movie  makers  aiding 
forest    defense    with  cameras 


J 


of  Home  Movies  Forest  Defense  film- 
ing project  broke.  This  supplied  the  im- 
petus that  started  his  camera  rolling 
and  today  he  is  in  the  home  stretch  in 
production  activities. 

"I  had  written  part  of  my  scenarion 
before  your  June  issue  reached  me," 
Robertson  wrote,  "Then  I  'borrowed' 
some  of  your  scenario  and  commenced 
looking  for  talent.  I  contacted  the  For- 
est Department  at  Paskenta,  Calif.,  and 
members  of  the  service  there  were  very 
enthusiastic  about  my  film  and  assured 
me  of  all  possible  help.  Indeed  I  find 
forest  rangers  everywhere  are  quite 
aware  of  Home  Movies'  Forest  Defense 
filming  project  and  are  happy  to  know 
that  a  real  effective  means  is  now  at 
hand  to  get  the  Forest  Department's  vi- 
tal message  on  forest  defense  before  the 
public. 

"I  have  since  secured  the  assistance  of 
friends  in  filming  the  'careful  camper' 
sequence  and  we  have  some  very  effec- 
tive shots.  I  have  made  arrangements 
for  two  capable  men  to  portray  the 
'careless   hunters'   whose   negligence  is 


W 


I  N 


responsible  for  starting  a  disastrous  fire. 

"I  hesitate  to  say  it  was  fortunate  for 
me  that  a  forest  fire  occurred  just  re- 
cently in  the  vicinity  of  Bakersfield, 
and  I  am  now  trying  to  contact  movie 
amateurs  who  may  have  made  shots  of  it 
that  I  may  acquire  for  cutting  into  my 
film. 

"About  a  week  ago  I  packed  my  cam- 
era and  equipment  to  the  summit  of 
Bald  Mountain  where  I  made  panorama 
shots  of  the  broad  expanse  of  forest 
and  of  the  ranger  on  duty  at  the  look- 
out station  detecting  and  reporting  out- 
break of  a  fire.  Schedule  for  next  week- 
•  Continued  on  Page  )6S 


•  F.  J.  Robertson,  Corning,  Calif., 
credits  much  of  the  success  of  his 
Forest  Defense  film  to  cooperation 
received  from  U.  S.  Forest  Department 
rangers  and  officials. 


BY 
fAGi 


o  Frame  enlargements  from  the  8mm.  picture,  "Murder  By  Magic,"  Movie  of  the  Month  for  September. 


MOVIE  o/  the  mm 


CLEVER  original  story,  fine 
camera  technique,  good  editing  and  ex- 
cellent acting  combine  to  make  "Mur- 
der By  Magic"  the  Movie  of  the  Month. 
Produced  by  a  youthful  group  of  little 
theatre  players  of  Pasadena,  California, 
bearing  the  impressive  title  of  Ad-libber 
Productions,  "Murder  By  Magic"  com- 
mands additional  attention  when  one 
considers  the  fact  it  is  the  Ad-libbers' 
first  amateur  movie  effort.  Photographed 
in  8mm.,  the  picture  runs  300  feet  in 
length. 

The  original  story  written  by  Walter 
Tompkins  concerns  the  affairs  of  a 
young  married  couple  invited  to  the 
home  of  the  husband's  former  flame. 
Ted  Booth,  the  husband,  receives  a  spe- 
cial message  from  ex-flame,  Lana  La 
Marr,  inviting  him  to  a  musicale  to 
be  held  at  her  home.  The  note  reluct- 
antly adds  he  may  bring  his  wife  if  he 
must.  Ted  shows  the  invitation  to  his 
wife,  Mary,  who,  being  a  good  sport, 
agrees  to  go  along. 

Chief  attraction  at  the  musicale  is  a 
celebrated  singer,  Madame  Lowde-Hon- 
ker  whom  the  guests  have  assembled  to 
hear.  Cameraman-producer-writer  Wal- 


ter Tompkins  demonstrates  a  notable 
flair  for  comedy  in  handling  this  se- 
quence. To  accentuate  the  ludicrous 
singing  of  the  prima  donna,  Tompkins 
zoomed  his  camera  forward,  focusing 
it  on  the  singer's  open  mouth  to  height- 
en the  effect  of  her  reaching  a  high  note, 
then  returned  the  camera  to  normal. 
There  are  cut  backs  to  various  members 
of  the  audience  showing  their  reaction 
to  the  singing,  then  a  cut  to  a  framed 
painting  of  George  Washington  hang- 
ing on  a  wall.  As  the  singer  crescendo's 
again,  George  Washington's  eyes  open 
wide  and  almost  bulge  from  their 
sockets! 

Again  when  the  singer  reaches  for 
a  high  note,  the  camera  zooms  forward, 
taking  in  a  tight  closeup  of  her  wide 
open  mouth.  Superimposed  at  this  stage 
is  a  single  musical  note,  dancing  in  tune 
with  the  vocal  vibrations.  The  camera 
then  zooms  in  closer  to  the  musical 
note.  It  is  now  transparent,  and  through 
it  can  be  seen  a  small  clock,  the  hands 
revolving  fast  to  denote  a  transition 
of  time.  Indeed,  this  entire  cinematic  se- 
quence is  a  distinct  credit  to  a  filmer 
who  might,  in  the  light  of  his  limited 


cine  experience,  be  termed  a  beginner. 

But  getting  back  to  the  story:  Ted 
and  Mar)'  are  silently  attentive  to  the 
singer.  Lana  LaMarr  summons  the  maid 
and  directs  her  to  call  Ted  to  the  phone. 
When  he  responds,  Lana  tells  him  it  was 
just  a  ruse  and  suggests  they  go  out 
in  the  garden  where  they  can  be  alone. 

Madame  Honker  continues  her  sing- 
ing, and  presently  Ted's  wife  grows 
anxious  about  him.  She  excuses  herself 
to  go  in  search  of  him.  In  the  hall  of 
Lana's  home,  Mary  tip-toes  carefully  to 
each  door,  listening  for  any  suspicious 
sound.  Reaching  the  door  to  the  den, 
she  hesitates  a  moment  to  look  back 
down  the  hall.  At  this  instant  the  door 
opens.  A  man's  arm  reaches  out,  grabs 
Mar>%  and  draws  her  into  the  room. 

Inside,  Mary  is  released  by  the  strang- 
er who  explains  he  is  Lana's  Uncle  Fud; 
that  Lana  thinks  he's  crazy  and  keeps 
him  in  the  den  when  there's  company 
around;  and  that  actually  he's  an  in- 
ventor working  on  a  secret  defense 
weapon.  He  offers  to  demonstrate  it  to 
Mary  after  first  apologizing  for  mistak- 
ing her  for  Lana  who  bothers  him  by 
snooping  around  his  laboratory. 

Uncle  Fud  shows  Mary  his  secret 
weapon — a  pistol  that  makes  things  dis- 
appear. He  offers  to  demonstrate  its 
power,  and  the  two  go  into  the  drawing 
room  where  Madame  Honker  is  still 
holding  forth.  Uncle  Fud  spies  the  pian- 
ist's feet  banging  away  at  the  piano 
pedals,  tells  Mary  to  watch  closely,  and 
•  Continued  on  Page  }62 


350 


HOME  MOVIES  FOR  SEPTEMBER 


•  Formerly  one  of  England's  ranking 
amateur  cinefilmers,  Holton  Howell, 
the  author,  is  now  a  member  of  the 
R.  A.  F.  Photographic  Division  sta- 
tioned in  Canada.  Two  brother  R.A.F. 
photographers  are  shown  here  remov- 
ing camera  and  equipment  from  their 
plane  upon  return  from  a  reconnais- 
sance flight. 


A 


FEW  weeks  ago  I  arrived  in 
Canada  from  England,  a  stranger  alone 
in  a  large  but  friendly  continent.  I 
knew  not  a  soul  in  its  vast  expanse 
from  the  svmny  American  south  to  the 
frozen  limits  of  northern  Canada. 
Everyone  in  the  Canadian  maritime 
states  has  made  my  comrades  and  I 
most  welcome.  Already  we  have  made 
many  friends.  Yet  among  the  many 
who  crossed  the  "pond"  to  America 
with  me,  I  alone  knew  before  setting 
foot  on  these  shores  that  there  were 
several  thousand  strangers  here  who 
were  already  my  friends  through  the 
common  bond  of  my  hobby — making 
movies. 

Back  home,  of  course,  we  have  been 
closely  allied  in  the  American  cine 
movement  in  thought  and  deed  for  many 
years.  Little  breaths  of  warm  Califor- 
nia breezes  would  periodically  assail  us 
in  the  arrival  of  Home  Movies.  Hobby 
interest  was  heightened  with  arrival  of 
news  of  a  new  Castle  Films  release  or 
of  a  new  Agfa  film  emulsion;  or  the  re- 
ceipt of  some  new  piece  of  Bell  &  How- 
ell equipment. 

We  envied  Americans  these  things  for 
usually  they  came  to  our  shores  in  lim- 
ited quantities  at  high  prices.  Some- 
times we  were  happy  in  the  possession 
of  our  own  unique  equipment — Dall- 
meyer,  Ross,  Cooke  and  other  English 
lenses,  for  example;  9.5mm.  width  film 
and  the  wide  choice  of  associated  equip- 
ment; Dufaycolor  cine  film;  two-, 
three-  and  even  five-gauge  projectors. 
Once  we  had  half  standard  width 
17.5mm.  sound  and  silent  film.  But  al- 
ways the  States  were  one  jump  ahead 
of  us. 

We  only  heard  about  it  when  R.C.A. 
introduced  their  i6mm.  sound  camera; 
when  Auricon  first  marketed  a  double- 
system  1 6mm.  sound-on-film  record- 
er; when  Eastman  produced  i6mm.  Ko- 
dachrome  dupes;  and  when  Craig 
brought  out  his  projecto-editor  for  both 
8mm.  and  i6mm  film.  Some  of  these 
items  became  available  to  us  eventually, 
of  course. 

Happily,  however,  we  still  plugged 
on  with  ingenious,  home-made  substi- 


Jjritain^^  amateur^ 

g,o  to 


WAR 


But  they're  planning  bigger 
films     when     Victory     is  won! 


By  H       O       L       T  0 

tutes.  We  perfected  sound-on-disc  and 
musical  accompaniment.  British  manu- 
facturers helped  immensely  with  good 
disc  recorders,  effects  records,  and  cheap 
but  perfect  wax  recording  discs.  Gau- 
mont-British  set  up  i6mm.  sound-on- 
film  recording  equipment  in  a  studio 
with  all  the  "trimmings",  including 
services  of  a  professional  narrator,  for 
the  benefit  of  England's  amateurs  who 
wanted  to  add  sound  to  their  silent 
movies. 

Our  color  enthusiasts  concentrated 
on  producing  perfect  Kodachrome  orig- 
inals, then  guarded  them  jealously  from 
possible  damage  by  screening  them  only 


W 


on  their  own  high  quality  projectors. 
Our  budding  film  editors  continue  to 
use  scissors  and  a  magnifying  glass  in 
the  cutting  and  editing  of  films,  and 
those  intent  upon  serious  work  avoided 
the  small  8mm.  film. 

But  above  all,  the  English  movie  am- 
ateur sought  to  master  the  art  of  silent 
motion  pictures — not  to  compete  with 
the  professional,  but  to  fill  the  gaps  left 
wide  open  by  the  commercial  film  pro- 
ducer. In  London,  Ace  Movies,  a  lead- 
ing amateur  film  society,  spent  the  un- 
heardof  sum  of  £200  (1000  dollars)  on 
large,   well-lit   sets   for   a  1600-foot 

•  Continued  on  Page  }66 


351 


HOME  MOVIES  FOR  SEPTEMBER 


•  Frame  enlargements  from  "Week 
End  for  Three,"  one  of  t+ie  season's 
best  scenic  pictures  in  which  clever 
continuity,  excellent  photography, 
and  studied  editing  combined  to 
raise  it  above  the  level  of  ordinary 
Kodachrome  movies. 


COLOR  isn 

ElMTHnG... 

Continuity  is  important,  too, 
for    scenic    and    vacation  movies 


iXPERIENCED  audiences  no 
longer  applaud  in  awe  the  screening 
of  scenic  movies  in  color.  There  was  a 
time  when  an  assortment  of  any  kind 
of  Kodachrome  shots  would  elicit  praise 
for  the  filmer.  But  today,  a  color  movie 
must  have  something  else  beside  color 
to  hold  audience  interest.  The  glamour 
of  color  alone  has  pretty  much  subsided 
and  now  a  picture  must  contain  action 


as  well  as  color  to  be  considered  extra- 
ordinary' by  critical  audiences. 

Reams  have  been  written  on  the  sub- 
ject of  combining  continuity  with 
good  color  photography  in  filming  sce- 
nic and  vacation  movies,  but  too  few 
amateurs  have  demonstrated  they  con- 
sidered the  subject  seriously.  One  ex- 
ception is  Richard  Thiriot  of  Salt  Lake 
City  who  recently  completed  "Week 


End  for  Three,"  a  scenic  picture  that 
contains  all  the  elements  of  a  "box  of- 
fice" movie — clever  continuity,  excel- 
lent photography  and  masterful  cutting. 

The  subject  of  this  picture  is  the  sce- 
nic wonderland  of  Bryce  Canyon,  lo- 
cated in  southern  Utah.  Br\xe  is  a 
mecca  for  color  cameraists  and  is  cli- 
matically situated  to  insure  almost  flaw- 
less results  in  photography.  Crisp  clear 
days  prevail  throughout  the  year  and 
invariably  there  are  fleecy  white  clouds 
skimming  the  horizon  to  enhance  com- 
position. Unless  one  keeps  a  firm  grip 
on  himself,  it  is  easy  to  exhaust  the  sup- 
ply of  Kodachrome  alloted  for  the  trip 
in  the  first  half  hour's  shooting,  so  en- 
ticing are  the  colorful  canyon  vistas  of 
Bryce. 

Thiriot,  an  experienced  filmer  of 
Utah's  scenic  wonderlands,  had  become 
accustomed  to  seeing  endless  reels  of 
scenic  movies  of  his  state.  And  having 
much  similar  footage  already  to  his 
credit,  he  decided  to  make  a  film  of 
Brjce  Canyon  in  a  more  professional 
manner,  threading  a  light  continuity 
through  it.  WTien  continuity  is  woven 
into  a  scenic  subject  the  scenes  become 
doubly  interesting.  Each  shot  assumes 
more  importance,  more  relevance,  by 
virtue  of  the  scene  preceding  and  be- 
cause of  the  stor>'  being  told. 

In  "Week  End  for  Three,"  the  story 
concerns  three  youths  who  visit  Br)'ce 
Canyon  on  a  photographic  jaunt.  Armed 
with  still  and  cine  cameras,  the  three 
travelers  arrive  at  the  canyon  rim  to 
gaze  at  the  awe-inspiring  panorama  of 
countless  spires  and  myriad  of  colors. 
Terr)',  the  more  adventuresome  of  the 
trio,  suggests  they  hike  down  into  the 
canyon,  assuring  his  pals  he  can  guide 
them  safely  back.  After  some  hesitation 
his  comrades  agree  to  follow. 

Already  Thiriot's  camera  has  record- 
ed some  beautiful  scenery  in  the  intro- 
ductory sequence  that  brings  the  story 
to  this  point.  Then  continues  the  caval- 
cade of  camera  shots  of  the  beauties  of 
Bryce,  with  shots  of  the  boys  intercut 
at  well  chosen  intervals.  After  traveling 
•  Continued  on  Page  }  69 


351 


HOME  MOVIES  FOR  SEPTEMBER 


•  All  the  essentials  of  a  titler  are 
illustrated  in  this  cut  of  a  Cine  Kodak 
Titler:  the  camera  base  A;  auxiliary 
lens  and  holder  B;  and  title  card 
holder  C. 


Wltat  the  heg^inner  should 


'F  all  the  phases  of  amateur 
movies,  none  is  more  neglected,  less  in- 
dulged in  by  the  beginner  than  the  mak- 
ing of  titles.  At  first  this  might  be  at- 
tributable to  sheer  laziness  on  the  part 
of  the  amateur  were  it  not  for  the  fact 
making  amateur  movies  is  definitely  not 
a  lazy  man's  hobby. 

Still,  far  too  many  amateurs  fail  to 
make  the  slightest  effort  at  titling,  even 
to  the  extent  of  splicing  on  a  main  or 
end  title.  And  careful  investigation 
seems  to  indicate  the  trouble  lies  in 
many  amateur's  inability  to  successful- 
ly film  an  object  closer  than  normally 
permitted  by  the  3  or  4  foot  focusing 
limit  of  his  camera  lens.  This,  plus  hesi- 
tancy or  inability  to  letter  title  cards. 
Titling,  therefore,  continues  to  be  con- 
sidered by  many  as  a  cinematic  diver- 
sion reserved  for  amateurs  of  widest  ex- 
perience and  with  the  greatest  array  of 
equipment. 

The  truth  is,  of  course,  titles  can  eas- 
ily be  photographed  with  any  make  of 
cine  camera  using  the  very  lens  with 
which  it  is  regularly  equipped.  Titles 
can  be  made  without  a  titler,  too,  al- 
though, for  the  beginner,  some  form  of 
titler  should  be  employed  to  simplify 
the  centering  of  title  cards  with  camera. 

Essentials  of  the  titler  are  three,  and 
are  illustrated  in  Fig.  i.  A — camera  base, 
B — auxiliary  lens  and  holder  and,  C — 
title  card  holder.  Illustrated  is  the  reg- 
ular Eastman  Cine  Titler  which  is 
available  for  all  8mm.  and  i6mm.  Cine 

3S3 


know  about  TITLIIfi 


By  STANLEY 

Kodaks.  This  style  titler  is  generally 
known  as  a  typewriter  titler  because  it 
was  primarily  designed  to  photograph 
title  cards  lettered  with  a  typewriter. 
It  takes  a  title  card  about  lYz"  yi  AiYz" 
in  size  of  which  an  area  in  the  center 
3  54"x2%"  constitutes  the  limits  of 
the  title  text.  This  area  provides  for 
about  three  lines  of  ordinary  typewriter 
type,  double  spaced.  Typewriter  titlers 
are  also  available  from  other  manufac- 
turers for  most  all  makes  of  8mm.  and 
1 6mm.  cameras  and  these,  as  well  as  the 
Cine  Kodak  titlers,  also  accommodate 
title  cards  printed  by  letter  press  or 
those  hand  lettered. 

Many  amateurs,  of  course,  build  their 
own  titlers.  This  is  a  very 
simple  task  requiring  but  a 
few  boards  and  nails  and  the 
use  of  simple  tools.  The  essen- 
tials are  a  base  on  which  to 
place  the  camera  and  means 


•  Block  letters  stamped 
out  of  heavy  cardboard 
or  cast  of  white  plastic 
material  are  available  for 
composition  of  titles  of 
larger  areas.  Such  letters 
may  be  used  over  and 
over  again. 


A  N 


R     E    W  S 


to  secure  it  firmly  to  the  base,  an  auxi- 
liary or  ultra-closeup  lens  and  a  support 
for  holding  it  before  the  camera  lens, 
and  a  title  board  on  which  to  place  the 
title  card — all  of  which  have  previous- 
ly been  described.  The  title  card  area 
can  be  increased  by  moving  the  title 
board  farther  away  from  the  camera 
and  this  requires  that  an  auxiliary  lens 
of  the  required  size  be  mounted  in  the 
lens  holder  before  the  camera. 

The  auxiliary  lens  is  the  simplest 
means  of  transforming  the  regular  cam- 
era lens  into  a  short  focal  length  lens. 
These  may  be  purchased  from  photo 
supply  and  optical  stores  or  lenses  from 
•  Continued  on  Page  }6j 


Ewing 
Galloway 


Acme  Radiophutos 


Wide  World 


E\l  FILMS  /o. 


B  y 


In  spite  of  restrictions  imposed 
on  the  movie  making  activities  of  ama- 
teurs through  gasoHne  and  rubber  ra- 
tioning, enjoyment  of  home  projection 
of  films  will  continue  unabated.  In  fact, 
this  phase  of  the  hobby  is  gaining  great- 
er impetus  by  virtue  of  the  extraordi- 
nary films  now  being  made  available  by 
such  commercial  producers  as  Castle 
Films. 

The  list  of  Castle  Films  releases  for 
September,  for  instance,  includes  a  wide 
array  of  timely  as  well  as  entertaining 
subjects,  including  war  and  civilian  de- 


•  1 — Thrills  in  closeup  of  top- 
ranking  sports  stars  feature 
"Sport  Spellbinders."  2  and  3 
—  Savage  tank  attacks  and 
plane  crashes  are  only  two  of 
the  many  thrills  pictured  in 
"Fight  for  Egypt."  4 — Civilian 
Defense  is  made  vividly  clear  to 
all  civilians  in  "Air  Raid  Warn- 
ing." Ichabod  Crane  now  may 
be  seen  in  action  in  "The  Head- 
less Horseman.''  6  —  Little 
6.  Black  Sambo  outwits  a  tiger  in 
his  latest  cartoon  release  for 
home  projectors. 


S         C         H         0         E  N 


fense  films,  which  are  available  in  long 
and  short  versions  for  both  8mm.  and 
i6mm.  projectors.  A  new  series  of  ani- 
mated cart<x)ns  are  available  in  color! 

Topping  the  list  of  timely  subjects  is 
'Tight  for  Egypt."  Filmed-under-fire  at 
incredibly  short  range,  the  picture  con- 
tains amazing  fighting  scenes  from  the 
terrific  battle  that  has  been  raging  in 
the  desert.  Savage  tank  attacks  send  up 
swirling  clouds  of  dust,  as  point-blank 
artillery  fire  clears  the  way.  Damaged 
tanks  are  picked  up  by  huge  trailer 
trucks  in  the  very  thick  of  the  fire.  The 
spectator  rides  with  bombers  as  they 
dive  into  the  thick  of  the  fray,  dropping 
their  deadly  load  on  enemy  mechanized 
equipment. 

Three  films  on  the  subject  of  home 
defense  and  produced  in  cooperation 
with  the  Office  of  Civilian  Defense  are 
available  in  both  8mm.  and  i6mm.  as 
well  as  in  i6mm.  sound.  The  first,  "Air 
Raid  Warning"  is  an  accurate,  authentic 
film  intended  as  instruction  for  air  raid 
wardens  in  their  respective  duties.  It  al- 
so illustrates  what  the  citizen  should 
•  Continued  on  Page  36X 

354 


HOME  MOVIES  FOR  SEPTEMBER 


PAGE  355 


MVl  to  call 


W, 


HAT  is  a  long  shot?  A  medium 
shot?  A  closeup,  or  a  medium  closeup? 
These  questions  are  asked  by  amateurs  every 
day.  The  answers  are  important,  especially 
when  producing  a  scenario  where  each  scene 
is  defined  in  the  script.  Frequently  what  is 
a  long  shot  to  one  filmer  is  considered  a 
medium  shot  by  another.    There  are  four 


standard  types  of  shots  established  by  pro- 
fessional cinema  practice:  the  long  shot,  me- 
dium shot,  medium  closeup,  and  closeup.  All 
others  are  intermediate  shots  such  as  "me- 
dium long  shot",  "ultra-closeup",  etc.  Some 
intermediate  shots  are  also  known  by  other 
terms  such  as  "knee  shot",  "waist  shot", 
"two  shot",  etc. 


■  I 


A  long  shot  is  a  distant  shot  used  mainly  to  establish 
locale.  It  may  include  people  in  the  distance,  usually 
JO  feet  or  more  in  front  of  the  camera.  Indoors,  a 
distant  shot  reaching  through  several  rooms  might  be 
considered  a  long  shot. 


This  is  a  medium  closeup,  takes  in  subjects  from  waist 
up.  This  is  sometimes  called  a  "two  shot"  by  Holly- 
wood's cinematographcrs.  Using  a  regular  lens,  distance 
from  subjects  to  camera  should  be  about  7'.  Even  with 
camera  at  5',  the  shot  would  still  be  a  medium  closeup. 


A  medium  shot  takes  in  subjects  at  full  length,  usually 
with  -some  area  to  spare  above  and  below  as  illustrated 
here.  With  a  regular  lens  (i"  i6mm.  or  Yz"  8mm.), 
subjects  in  a  medium  shot  would  be  approximately  20 
feet  in  front  of  the  camera. 


A  closeup  consists  of  head  and  shoulders  of  a  subject  or 
it  might  include  heads  of  two  people  as  in  embrace. 
With  a  regular  lens,  distance  from  camera  to  subject 
would  be  approximately  3  and  a  half  feet.  Some  cameras 
require  auxiliary  or  portrait  lenses  for  closeup  shots. 


HOME  MOVIES  FOR  SEPTEMBER 


•  One  method  for  keeping  check  on 
the  strobo  disc  during  projection  is  to 
use  spill  light  from  projector  film  gate 
to  illuminate  disc.  This  involves  use 
of  special  made  strobo  discs  such  as 
those  illustrated  below. 


Keeping,  film  and 

'ding,^  in  SYIC 


recoti 


N      L     E      Y  E  . 

Amateur  Cine  Society,   Bombay,  India 


I 


[N  most  phases  of  the  movie 
hobby,  we  amateurs  of  Bombay  fortun- 
ately have  been  able  to  keep  abreast  of 
our  brother  hobbyists  in  Great  Britain 
and  America.  Simultaneously  with  the 
increasing  activity  among  American 
cinefilmers  in  the  development  of  sound 


for  home  movies,  we,  too,  have  discov- 
ered the  tremendous  uplift  that  may  be 
given  silent  pictures  by  playing  musi- 
cal, sound  effect  or  narrative  recordings 
during  projection  of  films.  And  we  have 
also  encountered  the  problem  of  keep- 
ing these  recordings  continually  in  syn- 


chronization with  the  screened  picture. 

With  little  trouble,  it  is  quite  simple 
to  get  fairly  accurate  synchronization 
by  employing  the  use  of  stroboscopes.  It 
is  not  possible  to  get  split-second  syn- 
chronization for  dialogue,  but  with 
care  it  is  certainly  possible  to  get  syn- 
chronization within  a  second  or  two. 
And  provided  the  sound  effects  or  com- 
mentary, etc.,  are  carefully  planned  to 
fit  the  picture  loosely  with  the  musical 
background,  this  should  be  sufficient.  In 
any  case,  the  method  of  cutting  rec- 
ords and  playing  them  will  be  found  in 
the  end  to  be  no  more  expensive  than  a 
complete  set  of  titles  for  a  film,  and  in 
some  instances  much  quicker.  Main 
titles  will  still  be  required,  but  the  sub- 
titles may  be  dispensed  with  altogether 
where  narrative  is  included  in  the  re- 
cording. 

The  basis  of  synchronization  is  the 
stroboscopic  disc  which  is  placed  over 
the  spindle  in  the  middle  of  the  record. 
At  the  correct  speed  of  projection,  the 
strobo  disc  appears  to  remain  stationary, 
an  illusion  created  by  the  imperceptible 
intermittent  flashes  of  spill  light  falling 
upon  the  strobo  disc  from  the  projector, 
which  will  be  explained  more  fully 
later.  The  record  playing  turntable,  of 
course,  must  be  located  close  to  the  pro- 
jector on  the  right  hand  side. 

I  have  had  my  recording  apparatus 
and  projector  linked  up  electrically 
with  a  commutator  and  a  neon  bulb, 
which  enables  transfering  the  intermit- 
tent flashes  from  projector  to  the  strobo 
disc  on  the  record  while  it  is  being  cut. 
Once  this  cutting  is  synchronized  it  is 
very  easy  to  play  at  the  correct  speed 
in  sync  with  the  film.  The  discs  play 
for  about  4!/^  minutes — each  side — so 
that  two  discs — 3  or  4  sides — will  fur- 
nish the  sound  for  one  large  reel  of 
i6mni.  film. 

In  playing  these  recordings  during 
projection,  two  turntables  or  one  dual 
turntable  should  be  employed.  A  sync 
mark  visible  on  the  screen 
should  be  made  on  the  film 
(holes  made  with  paper  punch 
are  best)  to  indicate  when  to 

•  Continued  on  Page  }6} 


•  These  strobo  discs  may  be 
cut  out  and  used  to  time 
your  record  turntables  to 
play  in  synchronization  witfi 
your  film.  Use  of  each  is  ex- 
plained here;  also  formula  is 
given  for  determining  num- 
ber of  bars  required  for  a 
given  strobo  disc. 


356 


•  "'"'He  ^es^  f  ,  ^""^"^^^Mi^ 


TEST 


^our 


B 


'Y  the  time  a  real  amateur 
movie  hobbyist  has  shot  his  second  roll 
of  film,  he  realizes  his  movies  are  not 
complete  without  titles.  And  if  such 
titles  are  not  made  with  all  the  care 
that  goes  into  shooting  scenes,  they  are 
certain  to  detract  rather  than  add  any- 
thing to  the  film. 

Titling  to  some  amateurs  means  sim- 
ply splicing  on  a  main  title — the  label 
— and  perhaps  an  end  title.  To  others, 
it  means  a  complete  job  of  titling,  in- 
cluding all  the  descriptive-  or  sub-titles 
necessary  to  explain  the  picture  to  the 
average  audience. 

While  many  amateurs  shy  away  from 
the  titling  chore,  the  majority  have 
found  it  a  most  interesting  phase  of 
cinefilming.  It  requires  but  one  effort 
to  convince  most  amateurs  that  the 
composition,  lettering,  photographing, 
and  perhaps  the  developing  of  the  title 
film,  affords  a  means  of  keeping  active 
with  the  hobby  36$  days  a  year. 

Of  course,  some  become  discouraged 
with  their  first  efforts.  Titles  are  off 
center,  poorly  exposed  and  otherwise 
disappointing.  But  that's  all  in  the 
game.  Our  intention  here  is  to  point  out 
the  cause  of  discouraging  title  making 
experiences  and  show  how  to  avoid  the 
common  mistakes  and  to  make  titles 
comparable  to  the  professional  product. 

Greatest  bugaboo,  perhaps,  is  the 
problem  of  centering.  Dozens  of  ar- 
ticles have  previously  appeared  in  Home 
Movies  on  this  subject  and  it  should 
hardly  be  necessary  to  dwell  at  length 
on  this  topic  here.  It  is  suggested  the 
reader  refer  to  the  last  article  which  ap- 


'cates 


exposure 


titL 


loi{  beH  result ^  ,  .  . 


By  GEORGE 

pears  on  page  145  of  the  April  issue 
and  which  illustrates  six  different  meth- 
ods for  accurately  aligning  the  title 
card  with  camera. 

No  less  troublesome  than  centering  is 
the  proper  exposure  of  titles.  Often 
poor  results  ascribed  to  exposure  are 
really  caused  by  improper  development 
(in  the  case  of  positive  film)  or  pro- 
cessing. And  thus  we  find  development 
a  companion  to  the  problems  that  fre- 
quently plague  the  embryo  title  maker. 

^S^'^ith  few  exceptions  the  title  style 
followed  by  most  movie  makers  con- 
sists of  a  black  background  with  white 
lettering.  With  reversal  film  this  is  ac- 
complished by  filming  title  cards  of 
black  material  on  which  the  title  text 
has  been  lettered  in  white. 
With  positive  film,  the 
procedure  is  reversed — the  I 


•  This  title  shows  sev- 
eral faults  found  in 
many  home  niade  ti- 
tles; over  -  exposure, 
bad  light  arrangement 
resulting  in  a  "hot 
spot,"  and  poor  grade 
of  paper  stock  for  title 
card.  Properly  made, 
background  would  be 
a  solid  black  and  let- 
ters would  be  sharp  as 
in  Fig.  2  above. 


W 


C     U     S     H      M     A  N 


title  card  is  white  and  the  lettering 
black,  the  values  being  reversed  in  the 
development  of  the  film.  Frequently, 
however,  with  the  film  given  correct 
exposure  and  correct  development,  the 
titles  do  not  have  the  maximum  desired 
contrast.  The  backgrounds  are  frequent- 
ly grey  instead  of  black;  or  the  back- 
grounds are  black  but  the  letters  are 
a  diffused  grey  instead  of  white;  and 
sdmetimes  both  faults  prevail — gray 
background  and  diffused  lettering. 

Maximum  contrast  in  titles  begins 
with  the  title  itself,  and  particularly 
with  the  material  chosen  for  the  title 
card.  Many  paper  stocks  which  appear 
black  to  the  eye,  appear  dark  gray  to  the 
•  Coutiniicd  on  Page  ^64 


When  completed,  this  bridge 
will  be  over  lour  miles  long — 
the  largest  in  the  world  I 


357 


PAGE  358 


HOME  MOVIES  FOR  SEPTEMBER 


THE  EXPERIMENTiL 


Everready  Tape  Measure 

Cinefilmers  relying  on  accuracy  of 
tape  measure  to  determine  correct  fo- 
cusing distance  will  welcome  this  sug- 
gestion which  makes  the  tape  always 
ready  for  use.  Attached  to  tripod  as 
shown,  need  of  a  second  person  to  hold 
tape  is  eliminated. 

Tape  measure  illustrated  is  obtain- 
able at  most  dime  stores  and  the  case 
may  be  taken  apart  to  permit  drilling 
two  holes  in  one  side.  Countersink  the 
holes  and  screw  case  to  tripod,  using  flat 
head  wood  screws. 

— /.  M.  Bigelow, 
Oakland,  Calif. 

Negative-positive  Fades 

With  the  negative-positive  system,  as 
with  reversal,  there  are  times  when  a 
fade  is  required  after  the  film  is  exposed 
and  developed.  Fades  can  be  produced 
chemically  on  the  negative  similarly  to 
the  dye-fade  process  for  reversal  except 


PASS  'EM  ALONG! 

Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  columns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
jection reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  .your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  ideas  you  may  submit,  ideas 
not  immediately  published  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
If  submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  16mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


that  chemicals  are  used  instead  of  dye. 
The  negative  footage  of  the  fade- 
out  is  bleached  progressively  lighter  so 
that,  when  the  positive  print  is  made  in 
which  values  are  reversed,  the  fade 
footage  will  grow  progressively  darker. 

A  solution  for  bleaching  negative 
film  for  fades  may  be  made  as  follows: 
to  one  gallon  of  water  add  three  quar- 
ters of  an  ounce  of  sulphuric  acid.  Acid 
should  be  added  a  drop  at  a  time  in  or- 
der to  avoid  violent  chemical  reaction. 
Next  add  62  grains  of  potassium  per- 
manganate and  dissolve  it  thoroughly 
by  stirring. 

Fade  is  produced  by  gradually  im- 
mersing end  of  film  in  solution  frame 
by  frame  for  the  required  length  of 
fade.  It  is  advisable  to  determine  be- 
forehand length  of  time  required  for 
solution  to  effect  the  fade.  This  may  be 
done  by  bleaching  a  small  piece  of  neg- 
ative completely  noting  the  time  con- 
sumed, then  dividing  time  by  number 
of  frames  required  in  the  fade.  This  will 
give  amount  of  time  each  frame  must 
be  subjected  to  bleaching  solution. 

— Howard  Ef/crbrijok, 
Pueblo,  Colo. 


Fade  Smoother 


One  of  the  difficulties  encountered 
in  making  chemical  or  dye  fades  is  in 
eliminating  the  demarcation  line  be- 
tween the  fade  and  untreated  portion 
of  the  film.  The  dye  sets  fast,  even  be- 
tween the  short  interval  film  is  trans- 
ferred from  the  dye  to  the  wash  bath. 

To  overcome  this,  take  a  piece  of 
cotton  and  work  it  between  the  palms, 
shaping  it  into  a  soft  roll.  Soak  it  in 
water,  then  bend  it  U  shape  around  the 
film.  This  is  done  about  2"  above  the 
frame  where  the  fade  is  to  end  so  it 


will  not  interfere  with  placing  film  in 
dye. 

When  fade  is  completed,  hold  cotton 
in  one  hand  and  draw  film  through  the 
fold  with  the  other.  Thus  no  time 
elapses  between  the  dyeing  and  wash- 
ing operation.  The  resultant  fade  is  so 
gradual,  it  is  difficult  to  detect  where 
the  fading  actually  begins. 

This  procedure  is  particularly  useful 
in  those  instances  where  the  initial  im- 
mersion of  film  in  dye  is  not  sufficient 
and  it  is  necessary  to  treat  it  a  second 
time.  Film  can  be  dipped  into  the  dye 
to  the  desired  frame  without  any  mark 
at  the  new  stopping  point. 

After  drawing  film  through  the 
moist  cotton,  wash  film  in  usual  man- 
ner and  allow  to  dry. 

— Dr.  Paul  Edgren, 
St.  Paul,  Minn. 


Splicing  Aid 


When  dry  scraping  film  in  splicing 
operations,  there  is  usually  an  accumu- 
lation of  emulsions  particles  which 
must  be  wiped  off  before  cement  can 
be  applied. 

A  discarded  toothbrush  is  ideal  for 
this  purpose.  Equally  good  is  the  soft 
brush  of  a  discarded  circular  typewriter 
eraser. 

— Arthur  M.  Sharp, 
Centerdale,  R.  I. 

Lens  Holder 

Utilizing  heavy  cardboard,  Ys"  thick, 
one  may  easily  make  a  gadget  for  hold- 
ing auxiliary  lens  or  filter  discs  before 
camera  lens.  Three  pieces,  as  shown  in 
sketch  are  cut  from  the  cardboard  ma- 
terial and  cemented  together.  The  hole 
provided  in  the  rear  element  of  the  unit 
provides  for  attaching  gadget  over  the 


SUPPLEMENURY 
LENS 


TOP 

CKOSSBCTION 
V/f  W 


HOME  MOVIES  FOR  SEPTEMBER 

n  I  E  WORKSHOP 


lens.  It  is  important,  therefore,  that  this 
hole  be  carefully  cut  to  insure  a  snug 
fit.  Also  that  it  be  accurately  centered 
in  order  that,  in  the  case  of  using  an 
auxiliary  lens,  such  lens  be  accurately 
centered  with  the  camera  lens  when  it 
is  slipped  into  place  in  the  holder. 

— John  R.  Nonh, 
New  Albany,  1ml. 


MOLD/NG 


Libraiy  Film  Coveis 

Those  who  like  to  store  their  films  in 
a  convenient  place  such  as  book  case  or 
library  shelves,  will  be  interested  in  the 
attractive  book-like  containers  for  reels 
which  may  easily  be  made  of  wood  and 
cardboard.  Details  of  construction  are 
shown  in  sketch.  First  is  the  center- 
piece "A"  of  wood.  This  may  be  made 
of  pine  material,  i"  thick  for  i6mm. 
reels,  thick  for  8mm.  reels.  Material 
should  first  be  cut  into  blocks  9"xioy2" 
for  i6mm.  reels  or  6j/2"x7"  for  8mm. 
reels.  Center  may  be  cut  out  with  band- 
saw  as  shown.  Pieces  of  heavy  cardboard 
are  applied  with  glue  to  the  sides  and 
the  closed  end  "B"  finished  with  a 
strip  of  half-round  moulding.  This 
gives  the  rounded  effect  to  similate  a 
book  end.  This  done,  the  moulding 
should  be  covered  with  a  strip  of  fab- 
rikoid  or  other  material  simulating 
leather  and  should  extend  around  the 
sides  at  least  i"  as  with  the  trim  of 
many  book  bindings.  Where  desired  the 
reel  number,  title  of  film,  and  pro- 
ducer's name  may  be  stamped  in  gold 
on  the  fabrikoid  by  a  local  bookbinder 
before  fabrikoid  is  applied. 

— Grcgor  Montgomery, 
Toronto,  Canada. 


Film  Trick 

Filming  an  impromptu  movie  skit 
one  evening,  we  encountered  the  need 
for  a  revolver  to  be  fired.  Lacking  a 
genuine  revolver,  we  used  a  toy  cap  pis- 
tol of  the  "western"  type  and  cut  the 
scene  abruptly  as  the  actor  simulated 
firing  the  gun  .To  inject  realism  into 
the  action,  we  cut  to  a  closeup  of  the 
gun,  showing  a  curl  of  smoking  spir- 
aling  upward  from  the  barrel  as  though 
the  gun  had  just  been  discharged.  This 
was  effected  by  setting  the  scene,  then 
thrusting  a  lighted  match  into  barrel  of 
the  cap  pistol  and  filming  the  resultant 
curl  of  smoke. 

— Leland  HaeiiarJ, 
Santa  Barbara,  Calif. 


CARDBQAR.D 


THIS   S/Oe  FITS  OVER  LENS 


Filters 

Satisfactory  snap-on  filters  may  be 
made  by  using  heavy  cardboard  for  the 
support,  and  colored  cellophane  for  the 
filter.  Prepare  three  pieces  of  cardboard 
— the  thicker  the  better — with  holes 
in  the  centers  that  will  fit  snugly  over 
camera  lens  barrel.  Cut  a  piece  of  cel- 
lophane— red,  yellow  or  amber  as  de- 
sired— same  size  as  cardboard  pieces. 
Cement  the  four  pieces  together  and 
allow  to  dry  under  pressure. 

Care  must  be  exercised  to  prevent 
cellophane  from  contracting  into  rip- 
ples. This  can  be  minimized  by  allow- 
ing cement  on  cardboard  base  to  dry  to 
"tacky"  stage  ebfore  applying  cello- 
phane. After  trimming  edges,  cut  out 
space  to  clear  viewfinder  should  camera 
require.  Filter  assembly  illustrated  is 
designed  for  use  with  Filmo  8mm.  cam- 
era. Note  portion  cut  out  to  clear  view- 
finder.  Allow  2  stops  for  red  filter,  i  Yz 
stops  with  amber,  and  i  full  stop  for 
yellow  filter  with  pan  film. 

— Sterling  Boggess,  Jr., 
Lawrenceburg,  Ky. 


PAGE  359 


g.adg.et^f  tricks  & 
^kottcut^  contri- 
butedhy.  Cinebug.^ 


Remote  Control 

An  easy  to  make  remote  control  for 
operating  starting  button  of  Filmo 
8mm.  cameras  facilitates  filming  of  dif- 
ficult subjects  such  as  bird  life,  animals, 
insects,  etc.,  where  operator  must  re- 
main some  distance  from  camera. 

Gadget  consists  of  short  length  of 
strap  iron  or  other  metal  bent  "L"- 
shape.  This  is  fitted  before  camera  and 
a  hole  drilled  to  allow  for  tripod  screw. 
Another  hole  drilled  at  top  of  "L"  pro- 
vides for  bolting  on  a  small  hinge.  To 
this  is  fitted  a  short  piece  of  metal  cut 
to  proper  length  to  contact  camera 
starting  button.  A  length  of  string  at- 
tached, as  shown  in  cut,  extends  to 
operator  who  merely  pulls  string  to  set 
camera  in  motion.  Spring  action  of 
camera  starting  button  returns  lever 
to  neutral  position  when  string  is  re- 
leased. 

Travel  of  string  from  camera  to  op- 
erator is  facilitated  if  a  stake  on  which 
a  small  pulley  or  a  screw  eye  is  at- 
tached, is  driven  into  the  ground  im- 
mediately below  camera  and  the  string 
directed  through  it. 

— George  Carlson, 
Chicago,  111. 


PACE  360 


HOME  MOVIES  FOR  SEPTEMBER 


M 


ome  movie 


Where   to   rent  or   buy   8mm.   and    16mm.  films 


lO  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films  maintained  by  your  photo  dealer  for  owners  of  8mm.  and 
1 6mm.  projectors.  Rental  rates  are  surprisingly  low  and  new  films  are  added 
at  regular  intervals.  Dealers  listed  below  will  gladly  assist  with  suggestions 
for  one  reel  to  full  evening  programs: 


CALIFORNIA 


HOLLYWOOD 

Bailey  Film  Service 
1651  Cosmo  Street 

Bell  &  Howell  Filmosound  Library 
714  N.  La  Brea  Ave. 

Castle's  Inc. 
1529  Vine  Street 

Morgan  Camera  Shop 
6262  Sunset  Blvd. 


LONG  BEACH 

Winstead  Bros.,  Inc. 
244  Pine 


LOS  ANGELES 

Films  Incorporated 
1709  W.  8th  Street 


SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 
Photo  &  Sound.  Inc. 
153  Kearny  St. 

Robert  Crawford  Studios 
235   Pine  Street 
Telephone:  YUkon  1234 

SANTA  MONICA 

Stewart   Photo  Company 
1257  Third  Street 


DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St.,  N.  W. 


ILLINOIS 


BERWYN 


Colonial  Camera  Shop 
6906  Windsor  Ave. 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

Films  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 


INDIANA 


INDIANAPOLIS 

W.  Stuart  Bussey 

17  East  St.  Joseph  St. 


IOWA 


MASON  CITY 


Decker  Bros. 

209  No.  Federal  Ave. 


KANSAS 


WICHITA 


Jeff's  Camera  Shop 
139  N.  Broadway 

Lewis  Film  Exchange 
216  East  l(t  S't. 


MASSACHUSETTS 


BOSTON 


Don  Elder's  Film  Library 
739  Boylston  St.,  Dept.  HM. 

Frank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
325  State  Street 


NEW  YORK 


KENMORE 


Nixon  Camera  &  Photo  Supply  Co. 
2811  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
30  Rockefeller  Plaza 

Films,  Incorporated 
330  W,  42nd  St. 

Walter  O.  Gutlohn,  Inc. 
25  West  4Sth  St. 

Haber  &  Fink,  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
IS  West  47th  St. 

National  Cinema  Service 
69  Dey  Street 


OHIO 


CINCINNATI 


Ralph  V.  Haile  &  Assoc. 
215  Walnut  St. 


DAYTON 


South   Park  Fotoshop 
1027  Brown  Street 

Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 


OREGON 


PORTLAND 


Films  Incorporated 
314  S.  W.  9th  Avenue 


PENNSYLVANIA 

PHILADELPHIA 

Kunz  Motion  Pictures 
1319  Vine  Street 


J'/  i^ou  want  a 

FILM  to  ihow 

.  .  .  NEWS  OF  TIMELY  SUBJECTS 
FOR  HOME  PROJECTORS 


Life  In  Poland 

"This  Was  Modern  Poland"  is  title 
of  newest  Filmosound  Library  release 
running  ten  minutes  in  sound  on  black 
and  white  film.  Filmed  just  prior  to  the 
Nazi  invasion,  it  pictures  Poland's  steel 
mills,  coal  mines,  Gydnia  harbor  instal- 
lations as  well  as  the  town,  farms,  fac- 
tories, and  the  cultural  and  religious  Hfe 
in  the  Polish  republic  that  was  disrupted 
by  the  Hitler  invasion.  Production  was 
supervised  by  Russell  Wright.  Rental 
and  sale  of  "This  Was  Modern  Poland" 
is  being  handled  through  Bell  &  How- 
ell's Filmosound  Library,  headquarters 
of  which  is  located  at  1801  Larchmont 
Ave.,  Chicago. 


Saga  of  Sails 

Popular  among  the  series  of  "Sport 
Beam"  films  currently  released  by  Of- 
ficial Films,  330  West  42nd  St.,  is 
"Away  With  the  Wind,"  picturing  all 
types  of  sailing  craft  in  action  from 
old  square  riggers  to  modern  trim  rac- 
ing yachts. 

Produced  by  cameramen  wise  in  the 
ways  of  nautical  filming,  the  picture 
boasts  some  of  the  most  picturesque  and 
thrilling  sailing  shots  ever  recorded  in 
motion  pictures,  according  to  the  pro- 
ducer. 


HOME  MOVIES  FOR  SEPTEMBER 


PACE  361 


"Away  With  the  Wind,"  as  with 
other  films  in  the  "Sport  Beam"  series, 
is  available  in  short  and  feature  lengths 
in  both  8mm.  and  i6mm.  widths.  A 
special  i6mm.  sound  edition  is  also 
available.  Films  are  now  on  sale  by  lead- 
ing photo  dealers  everywhere,  accord- 
ing to  Official  Films  who  offer  a  free 
brochure  describing  all  their  latest  pic- 
tures to  those  writing  for  it. 

Comedies  in  Sound 

With  the  inauguration  of  its  new 
selling  policy  of  one-reel  comedies  at  an 
$i8  list  price  successfully  launched, 
Comedy  House  is  readying  a  second 
group  of  six  pictures  for  September 
I  jth  release. 

Literature  and  other  information  may 
be  obtained  by  writing  Comedy  House, 
130  West  46th  St.,  New  York  City. 


(f^eview^  .  .  . 

•  Continued  from  Page  )  46 

solves  and  other  cinematic  fades  were 
executed. 

Documenting  the  planning  and  exe- 
cution of  a  parade  float  is  the  purpose 
of  "TTiat's  An  Idea,"  filmed  in  8mm. 
Kodachrome  by  Ray  Rieschel,  one  of 
Minneapolis  Cine  Club's  most  enthusi- 
astic members.  The  picture  run-;  200 
feet  in  length. 

It  boasts  fair  photography,  the  only 
criticism  being  many  scenes  are  not 
sharp,  and  scenes  important  to  building 
continuity  were  not  played  in  closeup. 

As  the  picture  opens,  an  artist  is 
shown  sketching  plans  for  a  drug  com- 
pany's parade  float.  He  submits  it  to 
the  art  director  in  the  next  ofiEce  who 
implies  by  much  waving  of  arms  that 
he  does  not  approve  of  it.  Another  idea 
is  sketched  by  the  artist,  submitted, 
and  refused.  In  both  of  these  office 
scenes,  the  camera  shoots  toward  the 
artist  with  the  art  director  seated  at  his 
desk  and  with  back  to  the  camera. 
There  should  have  been  cuts  to  close- 
ups  at  these  points  to  increase  interest 
in  the  characters  and  break  length  of 
the  long  shots. 

The  artist,  stuck  for  an  idea,  goes 
home  for  the  day  and  romps  with  his 
small  son.  Playing  near  a  pool  of  wa- 
ter, they  find  a  small  turtle  which  gives 
the  artist  an  idea  for  his  float.  Reiurn- 
Lng  to  the  office  next  day,  he  creates  a 
new  float  design  with  a  turtle  as  the 
motif  and  this  is  accepted  by  the  art 
director. 

Balance  of  picture  is  devoted  to  show- 
ing actual  construction  and  decoration 
of  float  and  views  of  it  in  the  parade. 

An  artist  by  vocation,  Rieschcl's  ti- 
tles are  of  the  best. 


HOW  TO  GET  MORE  OUT  OF  YOUR 

(P'f P^OTOFIOODS 


...AND  BETTER  PICTURES 


USE  'EM  IN  GOOD  REFLECTORS.  You'll  get  more  light  to  cover 
wider  areas  or  to  stop  down  for  more  depth  of  focus, 
more  detail. 

Keep  bulbs  and  reflectors  clean.  Dust  and  dirt  can  steal  more 
light  than  you  think. 

Measure  the  distance  from  lamps  to  subject  so  you're  sure 
of  correct  exposure.  Or  use  a  good  exposure  meter. 

Turn  oflf  your  G-E  MAZDA  Photoflood  lamps  when  you're 
not  shooting.  They'll  last  longer. 

G-E  Photofloods  give  you  the  best  balance  of  lamp  Uje,  picture- 
taking  light,  color  temperature  and  low  cost  jor  your  needs. 


2 
3 
4 


GENERAL  ELECTRIC 
MAZDA  PHOTO  LAMPS 


All  operations  performed  by  precise  gears 
'A'  Positive  locks  on  tilt  and  pan  mechanisms 

Fits  all  tripods 

"i^  Ultra  modern  in  design 

GEARMASTER  brings  new  eflSciency 
to  all  picture  making 

FuLly  guaranteed.  Write  for  literature,  and  see  your 
favorite  dealer.  If  he  cannot  supply,  order  from  us. 

AMERICAN  BOLEX  CO.,  Inc. 

155  E.  44th  St.  New  York,  N.  Y. 


TAX  INCLUDED 

No  protruding  handle  to 
interfere  with  making  the 
picture  by  keeping  you  away 
from  your  camera.  Movie  makers 
will  marvel  at  the  simplicity  of 
making  geared  panorama  shots  Dy 
simply  turning  the  pan  crank.  Still 
camera  owners  will  appreciate  being 
able  to  get  to  their  range  and  view 
finders  without  interference  from 
a  protruding  handle. 

WesternRepresentative-.FrankA.EmmetCo. 
2joy  W.  Pico  St.,  Los  Angeles,  Calif. 


PAGE  362 


HOME  MOVIES  FOR  SEPTEMBER 


•    Make  Editing  a  Pleasure  • 

EDIT  THE  CRAIG  WAY! 


Craig  Projecto-Editors 

Action-edit  your  movies  in  the  professional, 
Hollywood  manner  with  a  CRAIG  Projccro- 
Editor.  This  versatile  outfit  permits  careful 
inspection,  slow-motion  if  desired,  of  actual 
smoothly-animated  motion  on  its  brilliant 
miniature  screen.  Use  it  to  transform  ran- 
dom "shots"  into  smooth-running  sequences 
that  everyone  will  enjoy  seeing. 

8mm.  model,  as  illustrated  above,  complete  with 

Junior  Splicer.  Rewinds  and  film  cement  $37.50 

8mm.  Projecto-Editor  alone  $29.50 

16mm.  model  with  Senior  Splicer  and  Rewinds  $59.50 


Craig  8  .&  16mm.  Senior  Splicer 

Makes  perfect,  straight,  professional-like  dry 
splices  . .  .  quickly,  accurately,  and  without 
wetting  film.  Only  four  simple  operations  re- 
quired. For  Sound  or  Silent,  $10.95. 

—AT  ALL  DEALERS — 


Write  for  Illustrated  Folder 


CRAIG  MOVIE  SUPPLY  CO. 

_  1053  SOUTH   OLIVE  STREET  - 

•  LOS  ANGELES.  CALIFORNIA  ' 


DEVELOP 

YOUR  OWN  MOVIES 

ITS  EASY  AND  THRILLING 

Send  for  one  of  these  low  rost  sets  anti  develop  your 
own  movies!  ConsisL-s  of  flcvclopinf?  rark.  tray,  safe- 
lltc.  and  set  of  prepared  developing  povi^ders.  Simt>!e 
stf'P-t»y-step  instructions  insure  (roo'J  resull.s.  Ordertoday. 
SIMPLIFIED  DEVELOPING  OUTFITS  including  our 
Prepared  Chemicals.  For  30  ft.  Single  8,  54.20; 
33  ft.  Obi.  8  &  16.  55.95.  Instructions  furnished  Free. 
Powders  only:  I  Gal.  Set.  51-30;  One  Gal.  Set.  S1.9S. 
Write  for  Brg  Bargain  Circulars,  our  bulk  film  prices. 

FROMAOER  GENERA  COMPANY.  Davenport  la. 


is  Easy- 

Try-it-yourjclf  ^Shoyn 


WRITE  •  A-to-Z  MOVIE  ACCESSORIES 

175  Fifth  Avenue  Dept.  H-41  New  York.  N.  Y 


jHot^ie  o/  t/te  jUontft 


•  Con tiniiiil  from  I'a^e  jjo 

taking  aim  at  one  of  the  pianist's  feet, 
pulls  the  trigger  and  presto! — one  shoe 
disappears.  Mary  gasps  in  amazement, 
then  Uncle  Fud  pulls  the  trigger  again, 
causing  the  pianist's  sock  to  disappear. 
The  pianist  feels  a  draft,  looks  down  to 
discover  his  bare  foot;  then  nonchalant- 
ly continues  playing. 

Uncle  Fud  then  leads  Mary  outside  to 
the  garden.  "I  want  you  to  try  it  for 
yourself,"  he  says,  handing  the  gun  to 
Mary.  In  the  garden,  Mary  is  shocked 
to  find  her  husband  and  Lana  sitting 
on  the  diving  board  near  the  pool,  em- 
bracing. Mary  raises  the  gun,  pulls  the 
trigger,  and  Lana  disappears.  Mary's 
fury  rising,  she  pulls  the  trigger  again, 
this  time  causing  Ted  to  vanish.  Stum- 
bling forward  to  the  diving  board,  Mary 
raises  the  gun  to  her  temple  and  pulls 
the  trigger  again,  causing  her  to  vanish 
as  did  Ted  and  Lana. 

Uncle  Fud  reaches  the  scene  and  re- 
covers his  secret  weapon.  From  his  poc- 
ket he  draws  a  vial  of  secret  fluid — a 
restoration  formula — some  of  which  he 
pours  into  the  muzzle  of  his  magic  pis- 
tol. Its  'powers  are  now  reversed.  Firing 
it  now  will  restore  objects  and  persons 
which  formerly  it  caused  to  vanish. 
Uncle  Fud  pulls  the  trigger,  restoring 


Mary  to  the  scene.  She  pleads  for  the 
return  of  Ted. 

"O.  K.,"  says  Uncle  Fud,  "But  first 
I  m  going  to  put  Lana  in  her  right 
place."  Pointing  the  gun  toward  a  dog 
house  in  a  corner  of  the  yard,  the  two 
family  dogs  exit  hastily.  Lana  then  ap- 
pears, thrusting  her  head  out  of  the  dog 
house  door,  raging  at  Uncle  Fud.  The 
gun  is  next  directed  toward  the  diving 
board  and  Ted  re-appears  to  be  received 
by  Mary  with  open  arms. 

Uncle  Fud  re-enters  the  house.  As  he 
passes  entrance  to  the  parlor,  he  takes 
aim  again  at  the  pianist's  bare  foot  to  re- 
store his  sock  and  shoe.  The  inventor  re- 
turns to  his  laboratory  in  the  den  and 
as  he  closes  the  door,  the  words  "The 
Den"  become  "The  End" — the  letter 
D  moving,  by  clever  animation,  to 
change  the  reading. 

The  production  staff  responsible  for 
'  Murder  By  Magic"  includes  Walker 
A.  Tompkins  whom  we  have  already 
identified  as  author  of  the  story  as  well 
as  producer  and  cameraman;  Maxine 
Wheeler,  director;  Helen  Flaxington, 
associate  producer;  and  Edmund  Estey, 
lighting  and  technical  assistant.  Estey 
also  doubled  in  brass,  essaying  the  role 
of  Uncle  Fud  with  appropriate  makeup. 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  av^^ard  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submitted  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1941 

OCTOBER:  "Cock  and  Bull  Stories," 
produced  by  j.  O.  McCracken,  Glendale, 
Calif.  An  8mm  Kodachrome  picture, 
300  feet  in  length. 

NOVEMBER — No.  award. 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 


San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Geurts,  Salt  Lake  City,  Utah.  A 
16mm  Kodachrome  production,  700  feet 
in  length. 


'Rita  of  Rocky  Ranch,"  pro- 
Roland  Ray,  Los  Angeles, 
8mm.  picture,  400  feet  in 


APRIL: 
duced  by 
Calif.  An 
length. 

MAY:  "Oliver  Twist,"  produced  by 
David  E.  Bradley,  Winnetka,  Illinois.  A 
16mm.  picture  approximalely  4000 
feet  in  length. 

jUNE:  "A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  8mm.  Koda- 
chrome picture,  200  feet  in  length. 

JULY:  "White  Waters"  produced  by 
C.  A.  Willis,  Merced,  Calif.  A  16mm. 
Kodachrome  picture,  400  feet  in 
length. 

AUGUST:  "Madame  Hummer  At 
Home,"  produced  by  Mrs.  Warner 
Seely,  Cleveland,  Ohio.  A  16mm.  Kod- 
achrome picture,  800  feet  in  length. 

SEPTEMBER:  "Murder  By  Magic," 
produced  by  Ad-libber  Productions, 
Pasadena,  Calif.  An  8mm.  picture,  300 
feet  in  length. 


HOME  MOVIES  FOR  SEPTEMBER 


PACE  363 


In  view  of  the  fine  performances 
turned  in  by  the  principal  members  of 
the  cast,  we  feel  a  duty  in  giving  due 
credit  to  the  individuals  whose  talents 
contributed  so  much  to  the  picture. 
Clinton  Wheeler  played  the  husband, 
Ted,  and  was  supported  by  Marianne 
Miller  as  his  wife,  Mary.  Lana  LaMarr 
was  played  with  professional  finesse  by 
Helen  Eager.  Eleanor  Brucker  handled 
her  comedy  role  perfectly  as  the  prima 
donna.  The  two  spinsters,  whose  capable 
mimicry  was  so  important  to  plot  of 


the  story,  were  played  by  Mildred  Estey  ' 
and  Eleanor  Comeau.  Ihe  pianist,  was 
played  by  Russell  Lynch. 

It  is  presumed  that  producer  Tomp- 
kins also  handled  editing  of  the  picture, 
a  chore  in  which  he  demonstrated  a  su- 
perior knowledge.  In  spite  of  the  fist 
full  of  reigns  which  he  held  on  this  pro- 
duction, Walter  Tompkins  prefers  that 
credit  for  success  of  "Murder  By  Magic" 
go  to  the  Ad-Libbers  as  a  group,  a  ges- 
ture we  are  sure  is  appreciated  by  his 
associates. 


y^ncmg. 


m  ana  recorai 


O  Continued  from  Page 


Start  the  first  recording,  and  another 
sync  mark  should  indicate  when  to  fade 
to  the  second  disc — or  turn  over  the 
record,  as  the  case  may  be.  The  second 
recording  should,  of  course,  be  on  a 
separate  disc  as  usually  there  is  not  time 
to  turn  the  disc  over.  Thus  the  reverse 
side  of  disc  No.  i  should  carry  part  3 
and  the  reverse  side  of  No.  2,  recording 
No.  4. 

It  is  not  essential,  of  course,  to  have 
two  turntables.  By  employing  only  one, 
ar  interval  in  the  commentary  or  music 
of  1 5  seconds  can  be  provided  which  is 
ample  time  to  turn  over  a  record  and 
re-start  the  turntable.  But  synchroniza- 
tion at  starting  is  very  important  and 
during  this  interval  of  1 5  seconds  the 
projector  will  continue  to  run. 

When  the  "end"  sync  mark  appears 
on  the  screen  at  the  conclusion  of  the 
record,  the  turntable  is  stopped,  record 
turned,  needle  put  on  the  first  groove, 
and  directly  the  next  sync  mark  appears 
oi!  the  screen,  the  turntable  is  re-started. 
This  is  much  simpler  and  a  more  prac- 
tical method  than  lowering  the  needle 
to  the  disc  in  the  dark. 

A  warning  mark  also  should  be 
placed  in  the  film  two  and  one-half 
seconds,  or  one  foot  of  film,  in  front 
of  each  sync  mark.  A  good  system  is  to 
punch  one  hole  for  the  sync  mark  and 
two  holes  for  the  warning  mark. 

In  cutting  the  record,  the  strobo  disc 
should  be  placed  on  the  record.  Those 
who  make  their  own  recordings  will  en- 
counter certain  problems  arising  in  the 
case  of  lightly  made  portable  recording 
sets.  One  of  these  is  that  the  cutting  time 
will  not  be  the  same  as  the  playback 
time.  I  have  timed  my  disc  cutting  very 
carefully  with  a  stop  watch  and  have 
found  a  lag  of  as  much  as  12  per  cent 
due,  of  course,  to  the  fact  that  the  cut- 
ting needle  is  traveling  through  the 
acetate,  wax,  or  whatever  the  record  is 
made  of.  The  cutting  time  will  also 
vary  with  the  age  of  the  needle  and 
depth  of  the  cut.  The  latter  is  a  most 


important  adjustment  on  the  recording 
niachine  and  the  grooves  should  appear 
as  wide  as  they  are  deep  when  examined 
under  a  magnifying  glass. 

The  swarf  or  black  "hair"  which 
comes  off  the  record  when  it  is  cut 
must  be  collected  in  the  center  and 
should  come  off  unbroken.  If  it  is  too 
thin  and  comes  away  in  pieces,  depth  of 
the  cut  is  too  shallow.  If  it  is  very 
coarse,  like  the  hair  in  a  horse's  mane, 
etc.,  depth  of  cut  is  too  deep  and  there 
will  be  distortion  in  some  notes  of  the 
music.  Another  important  point  is  to 
sec  that  the  turntable  is  perfectly  level, 
otherwise  distortion  will  result.  Check 
it  carefully  with  a  spirit  level. 

With  my  recorder  the  problem  of 
difference  between  cutting  time  and 
playback  time  was  overcome  by  al- 
tering a  pulley  on  the  friction  drive. 
Thus  it  was  found  that  if  a  re- 
cording is  made  at  80  revolutions  per 
minute,  it  can  be  played  back  at  76 
r.p.m.  simply  by  changing  the  pulley. 
There  is  no  variable  speed  control,  of 
course,  on  the  recorder.  The  "lag"  is 
taken  up  by  the  difference  of  4  revolu- 
tions per  minute.  If  this  is  not  done, 
quite  apart  from  the  difficulty  of  syn- 
chronization with  the  stroboscopic  disc, 
tone  of  the  voice  will  be  altered  and  will 
be  unnaturally  high.  The  faster  the  rec- 
ord speed  (over  cutting  speed)  the 
higher  the  voice  pitch  and  vice  rersa. 
Playing  back  at  76  r.p.m.  produces  a 
most  acceptable  tone  of  voice  if  the 
cutting  has  been  done  at  80  r.p.m. 's 
which  would  indicate  that  76  r.p.m. 
playback  time  is  about  equal  to  80 
r.p.m.  cutting  time. 

After  a  recording  has  been  cut,  a 
suitable  stroboscopic  disc  must  be  de- 
signed for  playback  timing.  Usually  it 
is  necessary  to  have  an  assortment  of 
them  designed  particularly  for  the  pro- 
jector in  use.  The  design,  which  in- 
volves only  the  number  of  uniform  bars 
around  the  perimeter  of  the  disc,  is  con- 
trolled by  the  number  of  blades  in  the 
projector  shutter.  Most  popular  makes 


Bring  HUMOR  to  your 
Home  Movie  Screen 


;fUP 


PRESENTED  BY 

OFFICIAL  FILMS,  INC. 

8  &  16  mm.  Silent  or  Sound. 


Here's  a  lovable  little  cartoon  char- 
acter whose  amusing  antics  will 
bring  gales  of  laughter  to  your 
home  movie  audience.  See  him  as  a 
detective,  as  a  prison  guard,  as 
the  village  barber,  in  these  newly 
released  sound  films.  Your  local 
dealer  has  these  six  cleverly  ani-' 
mated  cartoons  .  . .  for  sale  or  rent. 


I "JAIL  BIRDS"  Flip,  a  p  rison  guard,  rounds 
up  a  tough  "jail  bird"  who  has  made  a 
break.  An  exciting  chase  results! 

I "MOVIE  MAO  '  Flip  decides  to  become  a 
movie  actor  with  some  very  amusing  re- 
sults ...  at  his  expense. 

|THE  VILLAGE  BARBER 'Flip,  as  a  bar- 

I  ber,  shows  how  to  run  the  "complete 
I  tonsorlal  parlor." 

I STORMY  SEAS  Sailing  the  briny  deep, 
Flip  makes  a  daring  and  spectacular 
rescue  of  a  fair  maiden  in  distress. 

|THE  CUCKOO  MUROER  CASE  "As  a  de- 

I  tective.  Flip  tries  to  solve  a  "murder" 
I  and  finds  himself  faced  with  Death  .  .  . 
I  but  escapes. 

THE  VILLAGE  SMITHY"  Flip,  as  the  be- 

loved  blacksmith,  again  makes  a  daring 
rescue  of  a  fair  damsel. 

Order  From  Your  Dealer  Today! 
8mm.  SHORT  ....  $1.75 
8mm.  FEATURE  .  .  .  S.50 
14mm.  SHORT  ....  2.75 
lAmm.  FEATURE  .  .  .  8.75 
16mm.  SOUND  ....  17.50 

write  for  literature  describing  the 
complete  line  of  Official  Films. 


425 


Fourth  Ave.,  New  York,  N.  Y. 


PACE  364 


HOME  MOVIES  FOR  SEPTEMBER 


* 

★ 
* 


AtQ66a^6  to 

tItQ  public  and 
tke  tetailet: 


COERZ 


PHOTO  LENSES 
AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 


We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  we  invite  you  to  write  ui 
about  your  requirements  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-9 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

*  317  East  34th  Street         New  York  ★ 


NOW!!!  Spend  less  to  own  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 

ONTX      ONYX  ONYX 
8  24  Hi-Speed 

100  ft.  16  $2.25   $4.25  $4.75 

25  ft.  8/8          1.00     1.50  1.65 

30  ft.  Univex  65       .95  1.10 

RATINGS  — 8-24-50  for  Daylight 
Beversai  PreoeBslnsr  Free  of  Charee. 

Write  for  price  list  of  other  types  of  film  and 
chemicals  for  home  processing. 
KENWOOD  FILMS 

818  E.  4Tth  St.  CHICAGO,  ILL. 


GRADUATE  TO  A  Seetnantj 

3-star  SPLICER! 


it  ExclusiTO  "tension 
plni"  for  qrealti 
ic  curacy  I 
^ir  Dry  ciBulslon 

(•crap«r  —  ideal  lor 
Eo<UchromeI 
.  it  Aocbor»d  c«m«Bt-  cumol  upMlI 


WHOLESALE  PHOTO  SUPPLY  COMPANY 

7266  BEVERLY   BOULEVARD       «-       HOLLYWOOD.  CALIFORNIA 


of  projectors  have  either  a  two-  or 
three-bladed  rotary  shutter.  Cuts  of 
strobo  discs  are  illustrated  herewith  for 
use  with  three-bladed  shutter  pro- 
jectors. 

By  mathematical  formula  the  equiva- 
lent of  these  discs  for  use  with  two- 
bladed  shutter  projectors  can  be  worked 
out.  The  formula  is  as  follows:  i6 
(frames  per  second)  X  3  (bladed  shut- 
ter) =  48  (number  of  intermittent 
flashes  per  second  from  projector  X 
60  =  2880  flashes  per  minute.  Divide 
this  figure  by  76  (r.p.m.  of  playback 
turntable)  and  the  answer  is  within  a 
fraction  of  38 — the  number  of  marks 
in  the  strobo  disc.  This  means  that  at 
16  f.p.s.  with  a  three-bladed  shutter 
projector,  the  38  strobo  disc  on  the  rec- 
ord, when  illuminated  by  the  flicker 
from  the  projector,  will  appear  station- 
ary. Reduce  the  projector  speed  and 
the  strobo  will  appear  to  revolve  clock- 
wise. Advance  the  speed  over  16  f.p.s. 
and  the  strobo  will  appear  to  revolve 
counter-clockwise.  It  has  been  found 
that  if  this  revolution  is  timed,  an  ap- 
parent disc  movement  round  the  circle 
in  1 5  seconds  equals  a  difference  of  two 
bsrs  over  the  strobo  disc. 


The  three  strobo  discs  illustrated  are 
intended  for  readers'  use.  Cut  them  out 
and  paste  them  on  cardboard  trimmed 
to  size  of  the  disc.  Where  duplicates  are 
desired,  they  may  be  photographed. 
With  reference  to  the  36-bar  strobo 
disc,  at  78  r.p.m.  of  the  turntable  this 
disc,  when  illuminated  by  the  flicker 
from  a  3 -bladed  shutter  projector  at 
16  f.p.s.,  will  appear  to  be  stationary. 
Thus  one  can  ascertain  which  position 
of  the  rheostat  keeps  the  projector  turn- 
ing at  exactly  16  f.p.s.  provided  it  can 
be  determined  that  turntable  is  revolv- 
ing at  78  r.p.m.  This  timing  can  be 
done  with  a  stop  watch. 

The  38-bar  disc  equqals  76  r.p.m.  at 
16  f.p.s.  (3 -bladed  shutter)  or  76  r.p.m. 
at  24  f.p.s.  (2-bladed  shutter).  At  78 
r.p.m.  the  projector  would  have  to  be 
speeded  up,  and  with  the  40-bar  strobo 
disc  it  would  have  to  run  even  faster 

The  strobo  disc  becomes  effective 
when  the  spill  light  escaping  from  the 
film  gate  falls  directly  upon  it.  Vary 
projector  or  turntable  speed  until  bars 
of  the  disc  appear  stationary.  This  is  the 
basis  of  the  stroboscope  method  of  syn- 
chronization. 


Z)eH  ^our  titled 


•  Continued  from  Page  357 

c.imera  lens  under  brilliant  light  and 
thus  do  not  photograph  black.  And 
then,  even  the  blackest  of  black  paper 
will  reflect  light  if  the  illumination  is 
not  properly  positioned  with  relation  to 
the  camera.  The  first  precaution,  then, 
is  to  choose  a  soft,  suede-like  black  pa- 
per stock  for  the  title  card  and  to  set 
the  photofloods  at  such  an  angle  that 
no  highlights  are  reflected  by  the  card. 
Look  at  Fig.  3  and  you  will  see  the  re- 
sult of  improper  placement  of  lights 
which  created  a  "hot  spot"  in  the  center 
of  the  title,  leaving  the  edges  dark. 

Our  second  precaution  involves  the 
ink  used  in  lettering  the  titles.  Many 
inks  catalogued  as  white  are  really 
cream  colored  with  a  great  deal  of  yel- 
low in  them.  Where  such  inks  are  used 
with  ortho  or  semi-ortho  film,  a  clear 
white  letter  will  not  result  in  the  fin- 
ished title.  Lack  of  pure  density  of  color 
also  affects  positive  film  titles  where  the 
title  is  lettered  in  black  ink  on  a  white 
card.  Here  again,  the  title  card  must  be 
right — white,  instead  of  an  oflFshade  of 
white — and  the  ink  must  be  jet  black. 
In  the  case  of  typewritten  titles,  unless 
a  fresh  black  typewriter  ribbon  is  avail- 
able, the  titles  should  be  typed  directly 
through  carbon  paper  instead  of 
through  the  ribbon.  This  results  in  a 
sharp  letter  of  even  density. 

With  titles,  as  with  picture  shots,  de- 
velopment or  processing  of  the  film  af- 


fects the  final  result  as  much  as  any 
other  factor.  It  frequently  happens  that 
in  spite  of  the  care  taken  to  insure  the 
blackest  of  title  cards  and  the  whitest 
of  lettering  inks,  the  resultant  titles 
lack  contrast.  Many  times  this  is  due 
to  the  automatic  processing  systems  em- 
ployed by  some  film  laboratories  where 
a  highly  sensitive  electric  control  tends 
to  compensate  for  under-  and  over-ex- 
posure in  rolls  of  pictorial  film.  In  such 
instances,  a  roll  of  titles  or  a  roll  of 
film  containihg  title  shots  would  be 
"over-adjusted"  by  the  automatic  com- 
pensator. The  titles  would  appear  to  the 
sensitive  magic  eye  as  under-exposures 
and  the  processing  adjusted  according- 
ly. To  avoid  such  disappointing  results, 
it  is  advisable  to  notify  the  laboratoiy 
beforehand  that  the  film  sent  in  for 
processing  is  composed  entirely  or  in 
part  of  titles  so  that  they  may  control 
the  processing  of  the  roll  for  best  re- 
sults. 

We  have,  of  course,  assumed  that  ex- 
posure of  titles  has  been  correct — "on 
the  nose"  so  to  speak.  But  what  happens 
when  exposure  is  not  correct?  Well, 
when  titles  have  been  under-exposed, 
the  black  background  will  develop  black 
but  the  lettering  will  be  grey  rather 
than  white.  The  remedy  is  to  increase 
exposure — open  up  the  lens  or  increase 
the  light. 


HOME  MOVIES  FOR  SEPTEMBER 


PACE  365 


FOR    ALL    MOVIE    FILTER  NEEDS! 

^  Harrison  CINE  KIT 


4  FILTERS  and  DUAL-SNAP  SHADE  TO  MEET 
ALL  MOVIE  FILTER  NEEDS— both  Kodachrome 
and  Black  and  White. 

The  niw  Harrison  CINEKIT  contains  a  special  Aero 
Lock  Ring,  it  Uual-Snap  Aiuminum  Sunshaile.  and  the 
f  II  win;;  lie  luxe  Duraline  Filters:  YL-6.  GY-4. 
RD-4.  :nd  GR-4.  Case  is  of  durable  3-oz.  Elkhide, 
felt  lined.     $6.95  and  up. 


(If  desired,  Kodachrome  users 
may  substitute  a  C-4  and 
HAZE  filter  for  any  two  of 
the  above, ) 


Write  for  Free 
Illustrated  Folder 
Today 


HARRISON   &  HARRISON 

OPTICAL  ENGINEERS 
8331  Santa  Monica  Blvd.  Hollywood,  Calif. 


:TJ|  

^7       8mm, -I6n:im. -35mm, 

k  KODACHROME 

OF  THE  BEAUTIFUL 


CAVERNS 
of   L  U  R  A  Y 


This  extremely  interesting  and  fnost  unusual  film 
will  make  a  valuable  addition  to  your  film  library, 

36  -  2  X  2  KODACHROME  SLIDES — «  for  $  1,00 

100  Ft,  16mm.  KODACHROt-E  P  P  10.00 
50  Ft.  16mm.  KODACHROME  0  A  6.00 
50  Ft.    8mm.  KODACHROME  S     I  6.00 

25  Ft.    8mm.  KODACHROME  T    D  3.50 

Address:  LURAY  CAVERNS,  Luray,  Va. 


EVERY   8MM.    FAN  WANTS 

CINE  EXTENAR 

It's  the  new  WIDE  ANGLE 
lens  that  every  cine  fan 
needs  to  catch  the  whole 
picture.  Simply  screws 
over  regular  8mm.  lens, 
providing  identical  focus 
and  definition  plus  a  WIDE 
ANGLE.  $27.50 
For  full  particulars,  write  today 

CAMERA  SPECIALTY  CO. 

48  West  29th  Street       New  York  City 


Kodachrome 

MAPS  CHARTS  FINE  TITLES 

CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printinr 
995-A    Merchandise    Mart,  Chicago 


Reversible  Film,  100  Ft  $1.95 

8mm.  Double,  25  Ft  $1.50 

PRICES   INCLUDE  PROCESSING 
Slllj    Symphonies,    Charlie    Chaplin    and  other 
features  at  Ihit  per  foot  for  complete  subject. 
Write  today  for  our  catalogue  of  finished  subjects. 

STAR    SAFETY  FILM 

630  Ninth  Ave.       Film  Center  BIdg.,  N.  Y.  C. 


1001   riNNSYLVAMIA  AVI.  N.W.,  WASHINGTON.   D.  C, 


With  over-exposure,  the  lettering  re- 
mains white  but  there  is  great  loss  of 
detail — the  letters  appear  fuzzy  and  are 
hard  to  read  on  the  screen.  The  back- 
giound  is  grey  instead  of  black  and  the 
whole  title  has  a  washed-out  appear- 
ance. This  condition  also  is  evident  in 
Fig.  3.  The  remedy,  of  course,  is  to  re- 
duce exposure — stop  down  the  lens  or 
cut  down  on  the  illumination  by  mov- 
ing the  lights  farther  back  from  the 
title. 

One  of  the  best  short-cuts  to  success- 
ful home  title  making  is  to  shoot  a  test 
strip  consisting  of  a  series  of  exposures, 
developing  the  film  immediately  after- 
ward and  before  proceeding  with  the 
main  job  of  title  filming.  In  this  way, 
the  proper  exposure  can  be  accurately 
determined  beforehand  through  exami- 
nation of  the  test  strip. 

Frames  from  two  such  test  strips  are 
shown  in  Figs,  i  and  2.  Fig.  i  shows  a 
title  test  filmed  in  sunlight  while  Fig. 
2  shows  a  test  shot  made  on  positive 
film  under  artificial  light.  The  figure  8 
indicates  the  exposure  f  8. 

In  shooting  such  tests,  the  title  is  set 
up  in  the  titler.  A  small  card,  bearing 
the  figure  corresponding  to  the  f/  stop 
at  which  the  exposure  is  made,  is  placed 
before  the  title  card  to  indicate,  in  the 
finished  title,  the  exposure  of  that  par- 
ticular test. 

The  problems  touched  upon  here  be- 
come all  the  more  complex  and  difficult 
to  diagnose  when  the  title  film  is  devel- 
oped at  home.  It  is  usually  difficult  for 
the  beginner  to  determine  which  is  at 
fault:  exposure,  development,  lettering 
or  title  card  stock,  or  a  combination  of 
all.  So  for  the  remainder  of  this  dis- 
cussion we  shall  deal  with  the  titles 
filmed  on  positive  and  home-developed 
to  a  negative  only,  which  reverses  the 
values  as  described  earlier. 

Everything  that  has  been  mentioned 
above  with  regard  to  title  card  stock, 
color  of  inks,  etc.,  also  applies  here.  And 
if  the  original  values  are  correct,  then 
the  positive  titles  resulting  will  be  just 
as  contrasty,  just  as  satisfactory  as 
those  filmed  on  reversal.  Under-expos- 
ure will  cause  the  background  to  come 
out  grey  with  the  letters  remaining 
white  and  sometimes  fuzzy.  Over-expos- 
ure will  result  in  greying  of  the  letters 
and  the  background  becoming  jet  black. 

And  now  a  word  about  positive  film 
development.  Assuming  titles  have  been 
correctly  exposed,  a  good  contrasty  de- 
veloper used  at  the  prescribed  tempera- 
ture and  for  the  right  length  of  time 
will  result  in  crisp,  easy-to-read  titles. 
A  good  contrast  developer  is  one  which 
is  not  extreme  in  its  action  but  capable 
of  bringing  out  fully  that  which  has 
been  exposed  on  the  film.  It  should 
contain  enough  potassium  bromide  to 
keep  the  whites  clear  and  cause  the 
black  areas  to  develop  true  black.  A 


FOR     your  in- 
door movies 
and    stills  select 
VICTOR  Lighting 
units  for  best  results. 
There    are  clamp-on 
nd    stand    units  with 
white  reflectors  which  give 
ou  top  efficiency  when  us- 
ng   Photofloods,   There  are 
jsh   holders   and  synchro- 
zers  with  provisions  for  ex- 
sion   lamps,   for  effective 
h    lighting  of  stills.  See 
your   dealer   now,   or  write 
FREE  instructive  folder. 
H.  Smith  &  Sons  Corp. 
Lake  St.         Griffith,  Ind. 


It's  Terrific!  .  .  . 

ESO-F 


You  won't  believe  it  'till  you  see  it! 
Our  newest  Smni.  monochrome  SPEED 
film,  rated  Weston  24-16  for  the  low  price  of  $1.75  per 
roll  .  ,  .  three  rolls,  just  $4.90!  For  all  double  Smm.  cam- 
eras,* FAST  enough  for  those  late  afternoon  shots,  yet  right 
for  bright  days,  too!  Filters?  Yes.  Price  Includes  spool- 
ing, processing  and  return  postage  .  .  .  film  ready  for 
your  projector!  PLUS  ...  our  MONOCOLOK  films.  .  .  . 

ESO-A — Fine-grain,  contrast  semi-orthochromatlc  film 
with  anti-halo  base.  Uecommended  for  exteriors,  only. 
Weston  8-2.  $1.20  per  spool.  $3.20  per  three  spools. 

ESO-B — Super-orthochromatlc  film,  full  anti-halo  protec- 
tion for  use  on  exteriors  and  interiors.  Over  twice  as 
fast  as  ESO-A.  Weston  12-4.  $1.25  per  spool.  $3.45  per 
three  spools. 

ESO-C — Sepia  ortlio  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supple- 
ment for  your  Kodachrome  movies.  Weston  8-2.  $1,30 
per  spool.  $3.70  per  three  spools. 

ESO-D — Violet  ortho  film,  anti-halo  base.  Excellent  for 
splicing  into  your  Kodachrome  movies.  Weston  8-2. 
$1.30  per  spool.  $3.65  per  three  spools. 

ESO-G — A  scarlet  semi-orthochromatlc  film  with  full 
anti-halo  base.  Recommended  for  exteriors  only.  Pro- 
jects a  pleasing  colorful  picture  .  .  .  ideal  as  supplement 
for  Kodachrome  movies  Also  for  titling  color  movies. 
Weston  S-2.  $1.25  per  spool.  $3.35  per  three  spools. 

*  These  emulsions  available  for  single-run  Smm.  Univex 
cameras  also.    Write  for  prices. 

Ask  for  your  Fall  catalog  of  short  subject  films,  spooled 
films,  accessories,  and  titling  service, 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantee  these  Smm,  films  and  will  replace  any  film 
purchased  or  refund  the  full  purchase  price  if  you  are  not 
fully  pleased  with  your  results.  You  MUST  be  satisfied! 

AT  YOUR  DEALERS  OR  BY  DIRECT  MAIL. 

ESO-S  PICTURES 

"Quality  Smm  Service" 
3945  Central  Street  Kansas  City.  MlHeurl 


PAGE  366 


HOME  MOVIES  FOR  SEPTEMBER 


8mm.   QUALITY  BULK  FILM  16mm. 

SUPER  CINEPAN  REVERSAL— Unscoied. 
Speeil  24-16 — Larender  Non-Halatlnn  Base. 

Dbl.    8—33   ft.   $1.30;   100   ft.    $3.60;   400  ft. 

$12.95;  Sgl.  8—33  ft.  80c;  100  ft.  $2.00;  400 

ft.  $7.20;  IGmm.— 100  ft.  $3.5U;  400  ft.  $12.60. 
SUPER  CINEPAN  PLUS  RE VERSAL— Unscored. 
Speed  64-40 — Lavender  Non-Halatlcm  Base. 

Dbl.   8—33   ft.   $1.50;   100   ft.    $4.00;   400  ft. 

$14.40;  Sgl.  8—33  ft.  $1.00;  100  ft.  $2.25;  400 

ft.  $8.10;  16mm.— 100  ft.  $3.85;  400  ft.  $13.85. 
CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-2.  Unscored  Lavender  Non-Ualatlon  Base. 

Dhl.  8—33  ft.  80c;  100  ft.  $1.85;  400  ft.  $6.50; 

Sgl.  8—33  ft.  55c;  100  ft.  $1.20;  400  ft.  $4.25; 

16inm  — 100  ft.  $1.60;  400  ft.  $6.00. 
CINE-KOOAK  POSITIVE  TITLE  FILM— Unscored. 
Speed  6  in.  l*hotoflood  Light.  Laboratory  Packed. 

Dbl.  8—33  ft.  65c;  100  ft.  $1.45;  400  ft.  $5.00; 

.'<gl.  8—33  ft.  45c;  100  ft.  $1.00;  400  ft.  $3.50; 

ICmm.  100  ft.  $1.10;  400  ft.  $4.40. 
Clear,  Purplehaie,  Yellow,  Red,  Amber,  Special  Blue 
— Also  DuPont  Lavender.  Light  Amber,  8mm  Pink 
CAMERA  SPOOLS  WITH  CANS— Each 

Keystone   Dble.    8....$  .40    Univei    Sgle.    8  15 

Eastman    Dbl.    8  50    Keystone  Sgle.  8  $  .40 

Dbl.  8ram.  Not  E.  K.  Make.  Fits  all  cameras  40 

EXTRA  CANS,  Double  8  and  Single  8  size   .05 

100  ft.  and  50  ft.  16mm.  size  10 

Complete  Reversal  and  Title  Instructions  Free  with 
Film  Orders.  Separately  50c.  Cash.  Check  or  M.  O. 
for  quick  service.  Deposit  $1.00  required  with  C.O.D. 
orders.  Special  Delivery  25c;  Air  Mall  $1.00  Extra. 
Overpayments  refunded  or  credited.  No  stamps,  please. 

MISCELLANEOUS 
HAIA  Precision  All-Metal  8mm.  Film  Slltter....$2.75 
FOTOFADE  DYE  for  making  Chemical  Fades..  1.25 

FOTOFADE  WIPE-OFF  TAPE,  per  roll  60 

CINETINTS,  .Set  6  Colors  with  Instructions   3.25 

DuPONT  VISCOSE  SPONGES,  each  35 

HOME  MOVIES,  Back  Issues,  1937-38  15 

Not  all  months  In  any  year,  1940-41-42  -  .30 
TITLE  DEVELOPER,  tubes,  each  make  16  oz...  .15 

Our  lists,  handy  lens  tissue  10 

KODACHROHrE   TRAVEL   FILMS— 8-16mm. 
TRAVEL  FILMS— 8-16mm. 

Deposit  $1  required  for  CO  D.'s    Phone  Lincoln  1207 

W.   STUART   BUSSEY   FILM  LAB. 

17  E.  ST.  JOSEPH  ST.        INDIANAPOLIS.  IND. 


CUT  HOME  MOVIE  COSTS 

with  BLACK  »iiit  WHITE  tint 
grain  Seml-OrtkMhrMMtU  Re- 
vertlbit  Film  Iw  fliaat  rttulti — 
lowett  toit. 

1 6mm.  Reversible 
Ouhloor  Film 

00-ft.  Roll,  only  $2.50 

Rating  Sthtlnar  It 

Reverciblt  Outdoor  Film 

25  ft.  Double  8.  only  $1.25 


Sama    day    procaiilny  In- 
cluded.   Aik  your  daalar  or 
land  monoy  diract. 

Write  for  prices  for  develop- 
ing and  procesjing  for  8mm. 
and     16mm.     filmj  bought 
altewhare. 


VISUAL  INSTRUCTION  SUPPLY  CORP. 

I7S7  Broadway.  Dent,  'i         Brnoklyn.  N.  V. 


NEW   ONE    REEL  COMEDIES 
IN   16MM.  SOUND 

BING  CROSBY 

MYRNA  LOY 

AL  JOLSON 

BOB  HOPE 

SHIRLEY  TEMPLE 

JACK  BENNY 
PRICE  $18  EACH 

USUAL  DEALER'S  DISCOUNTS 

(omedy  |-]ouse 


130  W.  46  ST. 


NEW  YORK 


BETTER 
BULK 
FILMS 


CORONA 

PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 

CORONA-PAN    24-16       $3.15  $11.60 

ORTHOCHROMATIC    ....  12-  4         1.75  6.00 
SAME  PRICE  FOR   I6MM.  OR  DOUBLE  8MM. 
MACHINE  REVERSAL  PROCESSING— Double  8 
or  16mm— 100  ft..  85c:  50  ft..  65e:  25  ft..  50e. 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AVE.      BROOKLYN,  N.  Y. 


good  formula  is  Eastman's  D-ii.  It 
should  be  used  for  5  minutes  at  65 
degrees.  Another  which  has  gained  wide 
favor  is  Eastman's  D-72.  It  should  be 
used  full  strength  at  6j  degrees  for  2 
or  3  minutes.  For  extreme  contrast,  D-9 
is  recommended  at  2  minutes.  Many 
other  formulas  are  equally  acceptable 
and  may  be  relied  upon  to  produce 
good  title  results  when  used  according 
to  the  manufacturer's  instructions. 

It  is  difficult  to  determine  by  inspec- 
tion just  when  a  title  has  developed 
to  the  right  contrast.  For  this  reason 
titles  should  be  developed  for  the  cor- 
rect time  at  the  recommended  tempera- 
ture at  least  until  the  worker  has  gained 
the  experience  necessary  to  guide  him 
by  inspection  alone. 

By  using  the  right  developer  accord- 
ing to  specifications,  the  amateur  then 
knows  all  doubts  concerning  develop- 
ment have  been  eliminated.  Then  after 
the  correct  exposure  has  been  determined 
by  trial  and  error,  quality  from  this 
point  on  should  be  reasonably  consistant. 


And  now  for  those  combinations, 
which  are  often  hard  to  diagnose  prop- 
erly. When  under  exposed  and  under 
developed,  the  positive  film  will  appear 
very  light  and  transparent.  When  un- 
der-exposed and  over-developed  the  let- 
ters will  be  clear  and  white  but  the 
background  will  not  get  black.  It  will 
get  just  so  grey  and  that's  all.  Prolonged 
development  will  not  darken  it. 

When  over-exposed  and  under-devel- 
oped, the  letters  will  be  light  grey  and 
the  background  dark  grey.  As  develop- 
ment proceeds,  the  background  becomes 
darker,  but  so  do  the  letters.  When  the 
film  has  been  over-exposed  and  over- 
developed, the  background  is  opaque 
and  the  letters  are  so  dark  they  are  bare- 
ly discernable.  Surface  halation  has 
nearly  obliterated  them. 

Warm  developers  produce  the  same 
results  as  over-development,  and  cold 
solutions  produce  under-development.  It 
is  advisable  to  keep  the  developing  so- 
lutions at  the  recommended  tempera- 
ture which,  in  most  cases,  is  6  5deg.  F. 


cAntateurA       to  %Var  . 


a  Continued  from  Page  351 


•  Holton  Howell's  narrative  of  war-time 
England  and  the  movie  amateur  will,  we 
are  sure,  cause  American  movie  amateurs 
to  appreciate  more  fully  their,  as  yet, 
unrestricted  filming  freedom. 

Howell's  enlistment  in  the  Royal  Air 
Force  did  not  end  his  photographic  ac- 
tivities, for  his  prowess  with  a  camera 
caused  him  to  be  assigned  to  the  R.A.F. 
Photographic  Division.  Recently  he  was 
transferred  to  Canada.  Prior  to  the  War, 
Howell  was  active  in  the  formation  of 
several  cine  societies  in  England,  and  he 
plans  to  resume  his  cine  activities  in 
Canada  just  as  soon  as  he  can  obtain  the 
necessary  leave  to  purchase  camera  and 
accessories. — Ed. 


1 6mm.  silent  monochrome  version  of 
"The  Miracle."  This  and  other  out- 
standing amateur  productions  of  socie- 
ties and  individuals  were  voted  worthy 
of  commercial  presentation — truly  fine 
efforts  which  employed  the  whole  art 
of  the  screen  unhampered  by  dictates 
of  public  requirements. 

We  found  there  was  limitless  fun  and 
a  wealth  of  knowledge  to  be  gained  by 
this  method  of  amateur  production.  Did 
not  Hollywood  have  to  learn  to  make 
good  silent  movies  before  it  produced 
its  first  talkie,  "Sonny  Boy?" 

Today,  most  of  the  cinebugs  of  Brit- 
ain have  downed  cameras  and  donned 
khaki.  A  few  survive,  continuing  to 
work  at  their  hobby  in  precious  spare 
hours  and  against  tremendous  difficul- 


ties. For  amateur  movies,  says  John 
Bull,  are  public  luxury  No.  i  and  a 
3  3 "  I  '  3  %  purchase  tax  has  been  placed 
on  all  cine  goods  and  supplies.  The  Lim- 
itation of  Supplies  order  permits  only  a 
small  trickle  of  film  and  equipment  in- 
to the  camera  shops  every  3  months  and 
this  is  jealously  guarded  by  dealers  for 
special  customers  only. 

On  the  day  war  was  declared,  the  war 
minister  signed  the  Defense  Regulations 
which  included  the  Control  of  Photog- 
raphy order.  Cautious  amateurs  bought 
copies  of  this,  perused  it  carefully  and 
committed  to  memory  its  warning  con- 
tents. Thus  we  learned  that  no  photog- 
raphy would  be  permitted  of  aircraft, 
ships,  railways  on  defense  work,  gath- 
erings of  Forces  personnel;  of  service 
vehicles,  buildings  or  equipment;  nor  of 
hospitals,  first  aid  posts,  evacuation 
transports  or  assemblies,  public  works, 
ammunition  dumps,  telephone  or  cable 
stations,  airdromes,  barrage  balloons, 
bomb  damage,  factories  or  docks.  Any- 
thing else  directly  or  remotely  connect- 
ed with  the  war  effort  was  banned  to 
the  photographer,  cinephotographer  and 
artist  alike  unless,  of  course,  he  pos- 
sessed an  almost  impossible-to-get  press 
permit. 

The  movie  amateur  was  obviously 
safest  filming  indoors  within  the  four 
walls  of  his  home.  Police  were  wary. 
They  could  jail  you  on  suspicion — and 
did.  And  then  it  took  the  force  a  day 
or  two  to  get  your  film  processed  and 
by  the  results  you  stood  or  fell.  A  land- 


HOME  MOVIES  FOR  SEPTEMBER 

scape  shot  with  an  almost  invisible  air- 
craft in  the  sky  was  literally  an  of- 
fensive shot  and  for  a  time  much  con- 
fusion reigned  among  officials  on  what 
shots  were  and  were  not  to  be  consid- 
ered unlawful.  Eventually  harrassed  of- 
ficials became  less  literal  and  a  harmon- 
ious agreement  was  unofficially  and  un- 
pretentiously agreed  upon. 

No  artificially  lighted  night  exteriors 
were  allowed  to  pierce  the  blackout 
areas  and  even  an  f  1.5  lens  and  Kodak 
Super  double  X  could  make  nothing  of 
England's  dimly  lit,  moon-bathed  streets 
and  roads. 

The  fall  of  Holland  has  left  Britain 
practically  without  projector  bulbs.  The 
only  equipment  obtainable  now  is  sec- 
ond-hand. Ever)'one  works  long  hours 
and  at  different  periods.  Air  raids  fre- 
quently prevent  indoor  night  filming. 

Still  the  whirr  of  camera  or  projector 
m.otor  may  be  heard  faintly  in  the  fort- 
ress. Here  and  there  amateurs  give  shows 
to  Civil  Defense  and  Service  audiences. 
One  amateur  I  know  is  making  a  revo- 
lutionary puppet  film  in  Kodachrome; 
another,  a  cartoon  on  an  astronomical 
theory;  and  another,  a  simple  family 
film  of  his  wife  and  children. 

Most  of  the  British  movie  amate"urs 
are  in  the  Forces.  Some  in  lonely  camps 
or  overseas  in  hot  Africa  or  India  are 
writing  scripts  in  their  spare  time  for 
filming  after  the  war.  Others  in  Civil 
Defense  spend  most  their  leisure  hours 
at  Warden  posts.  Film  society  commit- 
tees are  dispersed  over  all  the  world  but 
they  still  keep  in  touch  with  one-an- 
other.  Finished  productions  and  valu- 
able equipment  are  safely  stored  in  the 
country  away  from  possible  bomb 
damage. 

For  awhile,  the  English  movie  ama- 
teur is  shooting  bigger  game,  and  the 
hands  that  formerly  fingered  the  start- 
ing button  of  a  cine  camera  now  con- 
trol armament  loaded  with  magazines 
of  more  deadly  stuff  than  movie  film. 

This  is  the  picture  of  war-torn  Britain 
fiom  a  cinebug's  viewpoint — Britain, 
bravely  fighting  against  tremendous 
odds.  With  the  Nazis  only  20  miles 
away  from  the  White  Cliffs  of  Dover, 
the  Englishman  still  clings  to  his  cher- 
ished hobby  and  the  memory  of  a  tem- 
porarily forfeited  heritage  which  will 
be  his  again  when  Victory  is  won. 

c4bout 


•  Continued  from  Page  353 

inexpensive  reading  glasses  obtainable 
in  dime  stores  may  successfully  be  used 
as  auxiliaries. 

By  placing  the  auxiliary  lens  before 
the  camera  lens,  objects  as  close  as  6 
inches  can  be  photographed  in  sharp 


focus.  Each  auxiliary  lens  is  capable  of 
focusing  only  at  a  single  set  distance. 
For  example,  a  10  inch  focusing  auxil- 
iary requires  setting  the  title  card  at  a 
distance  of  10  inches  from  the  camera 
lens.  The  camera  lens,  meanwhile  must 
be  set  at  infinity.  Where  it  is  desired  to 
shoot  titles  at  a  closer  or  farther  dis- 
tance, a  corresponding  auxiliary  lens 
must  be  substituted. 

The  focusing  power  of  an  auxiliary 
lens  usually  is  indicated  in  terms  of  its 
focusing  distance.  The  spectacle  lenses 
previously  referred  to  are  usually  marked 
thus: 

10 

the  top  figure  indicates  the  diopter  rat- 
ing and  the  lower  figure  the  focusing 
distance — in  this  instance  4  diopters, 
and  10  inches. 

For  those  wishing  to  experiment  with 
home  constructed  titlers,  the  following 
table  gives  the  focusing  distance  and 
auxihary  lens  diopter  rating  for  vari- 
ous size  title  areas  beginning  with  that 
of  typewriter  titlers: 


Distance 

Title  to 

Atix.  Lens 

Title  Area 
3/8"x   2  3/8" 

Camera  Lens 

Diopter 

8  in. 

5.00 

4    "x  3  " 

10  in. 

4.00 

45^8 "x  3^8" 

1 2  in. 

3-25 

63/8"x  43//' 

16  in. 

2.50 

8    "x  6  " 

20  in. 

2.00 

12    "x  9  " 

30  in. 

1.25 

16      "XI2  " 

40  in. 

1. 00 

This  table  applies 

where  the  regular  1" 

(i6mm.  camera)  and  Yz"  (8mm.  cam- 
era) lenses  are  used  and  with  such  lenses 
set  at  infinity. 

The  problem  of  lettering  the  title 
card  also  has  much  to  do  with  the  hesi- 
tancy on  the  part  of  many  amateurs  to 
embark  upon  titling.  As  already  stated, 
typewritten  title  cards  are  frequently 
used  and  are  the  simplest  to  compose. 
Where  the  amateur  is  skilled  in  hand 
lettering,  hand  lettered  titles  should  be 
made  and,  of  course,  printed  title  cards 
are  best  if  they  can  be  made  available. 

Going  into  the  larger  title  areas,  ^"x 
12",  etc.,  re-usable  block  title  letters 
such  as  the  Mittens,  Knight,  etc.,  are 
the  most  convenient  to  use  in  compos- 
ing the  title.  Some  of  these  letters  have 
tiny  pins  protruding  from  the  back 
permitting  them  to  be  stuck  into  the 
title  card  as  a  means  of  holding  them  in 
place. 

Titles  may  be  photographed  out  of 
doors  in  sunlight  or  indoors  under  Pho- 
tofloods.  Outdoors,  a  meter  may  be  em- 
ployed effectively  to  determine  expos- 
ure. Indoors,  best  results  are  obtained 
through  filming  a  short  exposure  test 
strip. 

It  is  not  always  necessary  to  shoot 
titles  on  reversal  film.  Many  amateurs 
have  found  success  in  filming  titles  on 
positive  film  which  requires  that  the 
title  card  be  composed  in  color  values 


PAGE  367 


New  Features  for  Your  Filmo 

•  If  you  want  features  offered  by  newest 
Filmo  models  which  your  dealer  can't  de- 
liver immediately,  chances  are  that  B&H 
craftsmen  can  add  them  to  your  present 
Filmo  Camera  or  Projector.  New  "Mod- 
ernization Folders"  give  details  and  costs. 
Ask  your  dealer  or  write,  stating  your  Filmo 
model. 

Use  This  Timely  NEW  SERVICE 

•  If  you  own  a  Bell  &  Howell  Camera  or 
Projector,  you  have  something  that  might 
be  difficult  to  replace  now.  So  you'll  want 
to  take  especially  good  care  of  it.  Do  this 
with  assurance  and  economy  by  using  our 
new  Standard-Price  Service  Plan.  See  your 
dealer  or  write  for  prices  on  the  three 
classes  of  our  new,  economical,  mainte- 
nance and  repair  service.  Bell  &  Howell 
Company,  182  5  Larchmont  Ave.,  Chicago; 
New  York;  Hollywood;  Washington,  D.  C; 
London.  Establisloed  1907. 


PRECISION-MADE  BY 


What's  a  movie  without  a  title?  How 
will  your  audience  understand  your 
picture  without  explanatory  titles? 
Learn  how  easy  it  is  to  make  your  own. 
This  easy-to-understand  book  tells 
everything  you  want  to  know  about 
this  fascinating  branch  of  the  home 
movie  hobby,  plus  plans  for  building  a 
simple  titler.  Gives  tables  for  exposures, 
lens  diopters,  field  areas,  etc.  Mailed 
for  onlv 

$1.00 

POSTPAID 

On  Sale  At  Dealers  Or  Order  Direct  From 

HOME  MOVIES 

4060  SUNSET  BOULEVARD 
HOLLYWOOD  CALIFORNIA 


PACE  368 


HOME  MOVIES  FOR  SEPTEMBER 


QjJiiUsii  FOR  SLIDES 


A    Real    Ciff    for    a    Friend    or  Yourself 

B-ckshelf  size  8' 2  x  7".  Blue,  green,  maroon  or  black. 
Contents  book  included. 

No.  100  (illustrated)   has  divisions  for  51  slides 
No.  lOOB  holds  up  to  300  slides. 

At  Stores  or  direct  prepaid    CI  AA 
on  10  Days  Money-Back  Trial  ^ 
Free    Catalog    of    Amfiles    for    Reels.    Negatives,  etc. 


AMBERG  FILE  &  INDEX  CO. 


76mm.  CASTLE  FILM 
at  SPECIAL  LOW  PRICES 

ONLY  LIMITED 


QUANTITY  ON  HAND 

Here  is  a  real  bargain  on  four  Genuine  l&mm. 
Castle  Film  Subjects.  All  film  guaranteed  perfect. 

ORDER  NOW! 

400  Ft.— News  Parade  ($8.73  reg.  price)  Now  $3.29 

200  Ft. — Explosion  of  Zeppelin  Hindenberg 

($3.50   reg.    price)  Now  1.69 

200  Ft. —  (Sound) — Coronation  of  Edward 

($9.75    reg.    price)  Now  2.49 

100  Ft. — Life  of  Edward  ($2.73  reg.  price)  Now  .89 

Don't  Delay — but  send  your  order  today.  These  films  will 

be  a  valuable  addition  to  your  library. 

SUPERIOR  BULK  FILM  COMPANY 

188  W.   Randolph  St.         Dept.  A-g,         Chicago,  III. 


GAKMLR 

CABLE  RELEASE 

ADAPTOR  for 

Remote  Control 

Eliminates  jarring:  simplifies  single  frame  exposures; 
easily  attached   and   detached:   no   interference  with 
loading,  winding  or  tripod  mounting. 
MODELS:  Revere:  Filmo  Companion.  Sportster. 
PRICE:  $1.00   (plus  tax   in  Calif.):  does  not  in- 
clude cable. 

Garmur  Products  ^;  Metropolitan 

Sta.    Los  Angeles,  Calif. 
Also:   MATUS  CAMERA  SUPPLY  COMPANY 
5208  Wilshire  Boulevard  Los  Angeles,  Calif. 


Preserves  Precious  Movie  Films 

^'4^ae€i^  "VICTORY"  j 
No  Metal  REEL  FILES 

}  Volume  De  Luxe  Library-  Series  I 
holds  18  200-ft.,  8-mm  reels.  Black  I 
or  brown  carrying  case  with  swivel  I 
hinge  front  covef.  Dustproof.  Re-  I 
rnovable  index.  Complete  with  18  plas- 
tic reels  and  case  $16.75;  without  reels, 
$10.  Individual  Files  hold  6  200-ft., 
8-mm  reels.  Complete  with  6  plastic 
reels,  $4.75 ;  without  reels.  $2.50. 

Write  for  descriptive  circular 
WESTERN  MOVIE  SUPPLY  CO. 
SAN  FRANCISCO  HOLLYWOOD 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  facilities 
BERNDT-MAUREK  BECORDEB 

CEO.  W.  COLBURN  LABORATORY 

995-A  Merchandise  Mart  CHICAGO 


opposite  of  the  desired  results.  In  other 
words,  where  finished  titles  are  to  be 
black  with  white  lettering,  the  title 
card  must  be  white  with  black  lettering. 
The  values  are  reversed  in  developing 
of  the  positive  film. 

Obviously  the  foregoing  could  only 
be  a  sketchy  outline  of  title  filming  pro- 
cesses. It  is  intended  to  show  the  begin- 
ning amateur  that  making  home  movie 
titles  is  comparatively  simple  and  fasci- 


nating work — important  work,  never- 
theless, because  no  amateur  motion  pic- 
ture is  complete  without  adequate  titles. 
It  would  take  a  book  to  explain  the  full 
procedure  of  title  making,  a  book  inci- 
dentally which  is  available  at  small  cost 
to  every  amateur.  This  book  is  "How 
To  Title  Home  Movies"  and  available 
from  the  publishers  of  Home  Movies. 
It  is  recommended  reading  for  all  ama- 
teurs seriously  interested  in  title  making. 


JSew  l^ilmi  lor  itai^-at-ltomei 


•  Continued  from  Page  354 

do  in  the  event  of  a  blackout.  Do's  and 
don'ts  are  presented  graphically. 

"Civilian  Fire  Fighters"  opens  with 
sequences  picturing  the  terrible  fires 
started  by  the  Nazi  blitz  on  London. 
Shows  the  incendiary  bomb,  and  how  to 
fight  it.  How  to  open  doors  in  burning 
buildings.  Types  of  hydrants,  ladders, 
leg  holds  and  lock  holds,  hose  loading, 
and  civilian  preparation  for  fire-fight- 
ing. A  thorough,  gripping  film  that  can 
help  to  save  lives  and  property  in  town, 
city  or  industrial  plant. 

Third  of  the  series  is  "The  Civilian 
Serves"  demonstrating  how  citizens  can 
serve  in  home  defense  as  air  wardens, 
members  of  rescue  squads,  auxiliary  po- 
lice, fire  watchers,  demolition  crews, 
etc.  It  is  an  impressive  film  with  a  mes- 
sage urging  all  to  serve. 

"Sport  Spellbinders"  is  Castle's  new- 
est sports-action  film.  Featured  are 
thrills  and  spills  in  a  dozen  sports  that 
will  leave  audiences  breathless.  Dare- 
devil stunts  and  hairbreadth  escapes  suc- 
ceed each  other  in  rapid  succession  in  a 
variety  of  sports. 

Not  only  are  masters  of  well-known 
sports  like  high  hurdling,  broad  jump- 
ing, pole  vaulting  and  high  jumping 
seen  in  swift  paced  action,  but  the 
thrills  of  more  unusual  sports  are  shown 
as  well.  Tuna  fishing  where  three  men 
are  needed  to  haul  in  the  giant  fish. 
Skiing  on  sand  with  spills  galore.  Water 
skiing  and  sea  sledding.  Outboard  mo- 
tor boat  racing  with  a  skittering  boat 
that  runs  wild  on  the  shore,  crashing 
over  a  parked  automobile.  Shooting 
swift-flowing,  rock  infested  rapids  at  a 
dizzy  pace.  And  much  more. 

And  as  a  comical  and  mirth-provok- 
ing climax  there  is  the  great  jaloppy 
race  in  which  cars  of  ancient  vintage 
race  madly  around  a  "race  track"  that 
is  full  of  great  bumps  and  mud  holes. 

Providing  fun  for  young  and  old 
audiences  alike  are  two  new  animated 
cartoons  which  are  available  in  color  as 
well  as  black  and  white.  In  "Little 
Black  Sambo,"  Sambo  has  a  hectic  ad- 
venture with  two  tigers  .  .  .  one  fake 
and  one  real.  Sambo's  Hound-Dog  gets 
more  than  he  bargained  for  when  he  dis- 


guises himself  as  a  Tiger  and  chases  his 
little  black  master!  A  real  Tiger  ap- 
pears and  the  rapid  fun  begins.  Hound 
and  Sambo  run  home  for  their  lives, 
finally  outwit  the  Tiger  by  spreading 
molasses  on  the  floor.  A  sadder,  battered 
tiger  ends  up  by  skiing  down  a  hill  into 
a  mud  hole!  A  world-wide  favorite  en- 
acted with  a  new  twist! 

Those  who  remember  Washington 
Irving's  tale  of  the  Headless  Horseman 
will  delight  in  viewing  Castle's  ani- 
mated cartoon  of  the  same  title.  The 
fun  is  provided  by  Ichabod  Crane  and 
Brom  Bones  in  their  rivalry  for  the  hand 
of  the  fair  Katrina.  Ichabod  seems  to 
have  the  upper  hand  until  Brom  discov- 
ers his  fear  of  ghosts.  Dressed  as  the 
Headless  Horseman,  Brom  pursues  Icha- 
bod in  a  ghostly  midnight  chase  and 
completes  the  rout  by  hurling  at  Icha- 
bod the  pumpkin  head  on  his  saddle. 
Brom  Bones,  the  winner,  leads  the  fair 
Katrina  to  the  altar,  but  gets  a  real 
surprise  when  he  does. 

Home  projectors  in  the  future  will 
undoubtedly  see  more  use  than  ever  be- 
fore with  such  good  professionally  pro- 
duced material  available.  Distribution 
of  the  new  films  is  being  made  through 
important  photo  dealers  in  every  city. 


•  Continued  from  Page  349 

end  calls  for  filming  scenes  of  the  Forest 
Department's  fire  fighting  crew  in 
action." 

Reproduced  here  are  frame  enlarge- 
ments of  some  of  the  atmospheric  scenes 
in  Robertson's  film  and  of  the  scene 
showing  careful  campers  extinguishing 
a  campfire  in  the  manner  prescribed  by 
the  Forest  Department. 

Significant  is  the  number  of  amateurs 
who  have  undertaken  production  of 
Forest  Defense  films  in  spite  of  the  re- 
striction of  travel  occasioned  by  short- 
age of  rubber  and  gasoline.  One  filmer 
is  reported  to  have  secured  most  of  his 
footage  to-date  without  once  having 
used  his  automobile.  Travel  to  filming 


HOME  MOVIES  FOR  SEPTEMBER 


PACE  369 


locations  was  accomplished  by  commer- 
cial bus,  lifts  from  other  civilian  travel- 
ers, and  by  the  old-fashioned  method — 
shank's  mare. 

Amateurs  who  live  in  the  vicinity  of 
national  forests  naturally  are  the  first 
to  realize  the  importance  of  a  projeet 
of  this  kind.  They  have  witnessed  the 
terrific  destruction,  the  vast  loss  of 
irreplaceable  resources  that  follow  in 
the  wake  of  a  forest  fire.  And  they 
know  that,  as  an  educational  medium, 
no  force  is  more  potent  than  the  mo- 
tion picture  to  awaken  the  public  to  the 
need  for  every  man,  woman  and  child, 
entering  our  nation's  forest  preserves, 
to  exercise  the  utmost  vigilance  and 
care  in  the  use  of  matches,  cigarettes, 
and  campfires  during  war  emergency. 

Forest  Defense  filmers  are  contribut- 


ing a  real  service  to  their  country.  Ear- 
lier, we  said  these  filmers  were  complet- 
ing their  films  with  but  one  thought 
in  mind — that  of  winning  the  special 
Forest  Department  trophy.  Actually,  of 
course,  their  first  thought  is  to  serve  in 
this  emergency  to  the  best  of  their  abil- 
ities with  an  endowment  of  talents  par- 
ticularly suitable  to  the  occasion.  There 
is  room  for  many  more  amateur  filmers 
in  this  project  which  is  to  continue  in- 
definitely after  close  of  Home  Movies' 
contest.  The  award  for  the  best  film 
and  the  inclusion  of  these  films  in  the 
1942  contest  is  merely  incidental.  There 
is  need  for  constant  vigilance  in  Forest 
Defense — especially  against  the  "red  en- 
emy," fire.  Motion  pictures  are  destined 
to  contribute  a  full  measure  to  this 
defense. 


Color  Un^t  every^tking.  .  .  . 


•  Continued  from  Page  352 

the  canyon  paths  for  sometime,  Terry's 
two  companions  grow  apprehensive  and 
suggest  turning  back.  They  encounter 
a  direction  sign  and  one  of  the  boys 
calls  Terry's  attention  to  the  fact  it 
points  in  the  opposite  direction. 

"It's  wrong,"  says  Terry,  "We  go  this 
way."  And  the  weary  trio  plod  on. 
Eventually  they  come  to  a  sign  marked 
'  End  of  Trail."  Terry's  two  pals  turn 
upon  him.  "I  thought  you  knew  all  the 
trails!"  one  companion  demands  of  Ter- 
ry angrily  and  a  fist  fight  almost  ensues. 

The  boys  now  tired  and  hungry  re- 
trace their  steps,  walk  all  night  long,  in 
their  anxiety  to  locate  the  main  trail. 
With  the  rising  sun  next  day,  they  gain 
their  bearings  and  in  due  time  reach  the 
rim  of  the  canyon  completely  exhausted. 
Terry's  pals  have  nothing  but  vengeance 
in  their  hearts  for  him.  Recovering  from 
their  arduous  trip,  they  set  about  to 
even  the  score  with  their  "know-it-all" 
companion.  The  final  sequence  opens 
showing  Terry  being  forced  at  gun  point 
to  a  tree  where  a  noose  is  made  ready 
and  then  drawn  about  his  neck.  The 
closing  shot  implies  a  hanging  by  show- 
ing only  Terry's  legs  dangling  beneath 
the  tree. 

Of  course  this  hanging  finale  was 
only  a  gag,  but  it  was  handled  with  fine 
dramatic  ability.  No  corny  actors  these 
boys,  and  when  Terry  feels  the  noose 
about  his  throat  and  the  muzzle  of  his 
companion's  rifle  in  his  midriff,  he  looks 
as  if  his  pals  really  mean  business. 

Those  who  are  fortunate  in  seeing 
this  picture,  will  observe  how  cleverly 
the  story  shots  tie  in  with  scenic  shots; 
how  unobtrusively  are  shown  all  the 
scenic  beauties  of  Bryce  Canyon  while 
a  story  of  three  adventuresome  youths 
unfolds  on  the  screen.  Some  rare  color 
photography  is  also  to  be  seen,  for  Thi- 


riot's  Kodachrome  scenes  are  perfectly 
exposed.  The  sky  in  every  scene  is  nat- 
ural blue — not  purplish.  Colors  of  the 
trees  and  of  the  multi-hued  rocks  are 
exactly  as  they  would  appear  to  the 
eye  were  you  to  visit  Bryce.  Thiriot  ex- 
plains his  successful  exposures  by  tak- 
ing all  meter  reading  from  the  shadows. 

"After  many  trips  to  Bryce,"  Thiriot 
said,  "I  have  found  the  natural  tend- 
ency is  to  under-expose  Kodachrome. 
Due  to  the  fact  there  is  so  much  re- 
flected light,  meter  readings  are  in- 
variably too  high." 

A  clever  effect  is  that  of  night  in 
the  several  shots  depicting  the  boys 
tramping  along  the  trail  after  dark. 
Thiriot  employed  a  blue  filter  to  lend 
a  night  effect  to  these  scenes. 

Contrary  to  advice  generally  given 
Kodachrome  filmers  bent  on  shooting 
distant  mountain  and  scenic  vistas,  Thi- 
riot did  not  use  a  haze  filter.  "My  rea- 
son for  not  using  a  filter,"  he  said,  "Is 
that  there  exists  a  definite  purple  haze 
natural  to  Bryce.  To  eliminate  this 
would  be  to  destroy  part  of  the  can- 
yon't  natural  color. 

Whether  a  filmer  excels  in  photog- 
niphy  or  not,  he  can  definitely  improve 
interest  in  a  travel  or  vacation  picture 
by  planning  it  around  a  little  human 
continuity  in  which  a  few  or  all  com- 
panions take  part.  If  the  locale  to  be 
visited  is  carefully  considered  in  ad- 
vance, a  suitable  plot  or  series  of  gag 
shots  will  easily  suggest  itself.  And 
then,  whether  a  shooting  script  is  pre- 
pared in  advance  or  shooting  is  done 
"off  the  cuff,"  a  picture  of  far  more 
lasting  interest  is  certain  to  result. 


CERTIFIED 

present 


FILMS 


CARTOONS  -  COMEDIES 

8mm.  -  16mm.  —  16mm.  Sound 

For  the  first  time — selected  Sutlohn  Cartoons  and 
Comedies  available  at  low  cost  through  special 
arrangement    with    Walter    O.    Gutlohn,  Inc. 

*    CARTOONS  * 

CIRCUS  CAPERS  JAILBREAKERS 
FLYS  BRIDE  LITTLE  RED  RIDING 

KING  OF  BUGS  HOOD 
GYPPED  IN   EGYPT        NOAH  KNEW  H IS  ARK 
TOYTOWN    TALE  WESTERN  WHOOPEE 

i(    COMEDIES  if 

HARVEST  HANDS  UNEASY  THREE 

FLIP  FLOPS 


COMPLETE  EDITION 

(Full  Reel) 

8MM   %  5.50 

I6MM   8  75 

I4MM.  SOUND    17.50 


Dealer  Discounts  Available 
CANADIAN  DISTRIBUTOR 
Associated  Screen  News  Montreal,  Canada 

CERTIFIED  FILMS,  INC. 

25  West  45th  Street  New  York 


For   Your  Camera 

I  lay  the  long  green  right 


on  the  line  for  that  cam- 
era of  yours  ...  or  give  you 
a  mighty  swell  trade.  Better 
bring  or  mail  it  in  ...  to  the 
Camera  Cross  Roads  of  the 
World. 

NEW  AND  USED  VALUES 

•  Filmo  70DA  black— I'  F:l.5,  2"  F:3.5  and 
A"  FA.S  lens  with  case  $227.50 

•  Filmo  70DA  brown;  new  condition;  I7mnn. 
F:2.7  Wollensak  In  foe.  mount— I'  F:l.5 
and  3"  F:4  lens  $247-50 

•  Cine  Kodak  Specials  &  Sound  Projectors 

•  Revere  Model  88  with  F:3.5  lens   $38.50 

•  Revere  85  Deluxe  Projector  —  500  watt 
lamp,   case   $8?.50 

•  Also  complete  stock  of  new  and  used 
LEICA  and  CONTAX— We  buy  'em- sell 
'em  and  trade  'em. 

Write  Dept.  HM 


NEW  one-reel  16MM  MUSICALS 

Produced   by   Major  Companies 

YANKEE  DOODLE  HOME 
DRUGSTORE  FOLLIES 

NIGHT  AT  THE  TROC 

MONTMARTE  MADNESS 

A  NIGHT  IN  A  MUSIC  HALL 
TIMBERLINE  REVELS 

ROOFTOP  FROLICS 

BROKERS'  FOLLIES 

Price  $18.75  each 

SIXTEEN  MM  PICTURES,  INC. 

1600  Broadway  New  York 


PACE  370 


HOME  MOVIES  FOR  SEPTEMBER 


PARK  CINE 


Announces  its  new  Title  Catalogue  #X 

11  SMART  TYPE  STYLES 

50  ARTISTIC  BACKGROUNDS 

PRICES  THE  SAME  AS  BEFORE!! 

Now  Available  for  the  First  Timo! 

Beauiiful  Kodachrome  titles  .  .  .  clever 
animations  .  .  .  distinctive  hand  lettering. 


PARK   CINE  LABORATORY 

120  West  41st  St.  New  York  City 


Get   thl»   FREE    BOOKl  Ktery 

MoTie  tan  (hould  ha'e  It.  Ctiuck 

full    with    ctiolcest    harKalni  you 

•T«r  HIT.  Daylight  Loading  Movie 

(llm  as  low  as  $1  per  'oti,  oro- 

•essini  included.  Alio  bulk  film, 

and  dozens  of  bargains  In  accai- 

lorles,  screens,  reels,  tltlers,  etc. 

Contains  BIG  NEW  LIST  16«  film  subjects,  glam- 
our films,  cartoons,  westerns,  historical,  adven- 
ture and  sports  films  lor  8mm.  and  IBmrn.  Write 
today.  Tour  name  on  postcard  brings  this  handy 
b»ok  by  return  mall  FREE! 

E88C0    FILM  PRODUCTS 


61 17  S.  Campbell, 


Dept.  H-9 


Chicago 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   and  Professional 
]6mm   —  8mm 
Black   &    White,   Tinted   and  Kodachrome 
Write  for  our  new  illust rated  catalog 
STAHL  EDITING  &  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N. 


8 ENLARGED    «  ^ 
TO  16 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
GEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
995-A  MERCHANDISE  MART 
CHICAGO 


PB  MOVIE  FILTER  KIT  FOR  COLORFILM 
FOR  CAMERAS 

Including  I  Screv/-in-Sunshado,  I  Haze  Filter, 
I  Type  A  Filter,  I  Pouch,  TC 

complete   ■^•♦.Z  J 

From    All    Leading   Camera    Dealers  or 

PONDER  &  BEST 

1015  SO.  GRAND  AVE.,  LOS  ANGELES,  CALIF. 


When    Yon    Buy  BAIA 
Yon  Buy  the  Best 

Precision  Made; 
Guaranteed  Perfect 

$2.75 

From  Your  Dealer  or  Direct 
BAIA  MOTION  PICTUKE  ENG 
1B6  Victor 
Tlifhlanil  Park.  MIchlcan 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  lemm)  you  simply  cannot 
afford  to  be  without  a  Free  copy  of  the  latest  Photo  Bar- 
Ealn  Book  now  being  distributed  throughout  the  U.  S. 
Lists  all  the  best  moving  picture  equipment  from  all 
the  leading  manufacturers,  flescrlbes  them.  The  prices 
save  you  money  In  many  cases.  You'll  find  the  latest 
In  lenses,  screens,  meters,  projectors,  cameras,  film, 
tillers,  editing  outfits  tripods,  books  on  editine, 
titling,  etc.  This  Bargain  Book  is  Invaluable  to  you  as 
an  equipment  REFERENCE  book.  Don't  wait  a  day 
longer   to   send   for  your   Free   copy.   Write   ua  now. 

CENTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  1-9  Chicago,  Illinois 


PROTECT  FILMS  cL*MrTr 


VAP^O.RATE 

ASK  YOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO..  INC.'  BELL  A  HOWELL  CO. 
IM  W.  4(lh  St.  1801  Larehmont.  Chicago 
New  York,  N.Y.  716  No.  Labrea,  Hollywood 


SCRATCH- 
ES, STAINS.^ 
F  1  N  G  E  R-1 
MARKS-THE' 
WAY  T  H  Ei 
U.  S.  GOV-: 
ERNMENTi 
AND  the' 
HOLLY  -  .' 
WOOD  PRO-: 
DUCERSDO- 


Succe^^ul 
Club  Program 

I  0  E  U 

WHAT  AMATUR  CINE  CLUBS  ARE  DO- 
ING TO  STIMULATE  MEMBER  INTEREST 


J|N  a  survey  of  amateur  cine  clubs 
recently  conducted  by  Home  Movies, 
reports  were  obtained  of  the  most  suc- 
cessful club  meeting  programs  or  club 
projects.  For  the  benefit  of  all  clubs, 
some  of  these  program  ideas  are  present- 
ed here.  They  are  freely  offered  for  their 
value  in  bolstering  membership  interest 
and  stimulating  wider  activity  in  club 
projects. 

Demonstrat-ion  Show 

Our  outstanding  effort  of  the  year 
was  a  "Home  Movie  Show"  held  at  the 
Chamber  of  Commerce  Building  of  our 
city  is  a  means  of  acquainting  prospec- 
tive members  and  beginning  movie  am- 
ateurs with  all  phases  of  the  hobby. 

The  show  included  booths  at  which 
were  demonstrated  such  phases  of  home 
movies  as  projecting,  editing,  titling, 
processing,  splicing,  film  cleaning  and 
preserving,  camera  loading,  care  of 
lenses  and  other  equipment,  construc- 
tion of  gadgets  and  advance  technique 
on  lap  dissolves,  double  exposures,  dis- 
appearing titles  and  other  interesting 
trick  effects.  As  a  special  feature  of  the 
Saturday  afternoon  and  evening  show, 
three  short  skits  were  presented  on-  the 
stage.  Photoflood  lights  were  furnished 
by  the  club  so  that  anyone  desiring  to 
film  the  plays  could  do  so. 

Several  photographic  dealers  of  the 
city  also  had  displays  of  movie  equip- 
ment, a  privilege  which  solved  our  fi- 
nancial expense  for  the  enterprise.  Ad- 
mission was  by  free  ticket,  obtainable 
from  any  member  of  the  club  or  from 
any  photographic  store  in  the  city. 

— Vort  Wayne  Movie  Club 
Fort  Wayne,  Indiana 

First  Films  Shown 

Featured  at  one  of  our  club's  most 
interesting  meetings  were  the  first  reel 
of  pictures  shot  by  each  member.  No 
cheating  was  allowed,  and  each  indi- 
vidual brought  the  very  first  movies 
taken  in  his  cinematic  career.  The  mis- 
takes and  boners  of  the  most  talented 
and  experienced  of  our  members  gave 
encouragement  to  the  beginners  and  a 
very  amusing  meeting  was  thoroughly 
enjoyed  by  everyone. 

— Port  Stockton  Cine  Club 
Stockton,  Calif. 


the  TOPS! 

In  Titling  Letters 

MITTEN'S 

PIN-BACK  and  SANDED  BACK 

— TITLE  LETTER  SETS — 


From   S5.50   up  at  all   leading   camera  stores. 
V/RITE   FOR   DESCRIPTIVE  FOLDER 

MITTEN    LETTER  CO. 

REDLANDS  CALIFORNIA 


I  REEL  FELLOWS 

Give  Prestige  to  Your  Movies  With 
An  Animated 

Reel  Fellows  Leader 
8mm.,  16mm., 

POSTPAID 

THE  REEL  FELLOWS 

6060  Sunset  Blvd.  Hollywood 

JLa-fl-gjaJLO-O-Q  .^LSLSLSLSUUlSUUULSJULSo 


New  8mm. 

HOLLYWOOD 
FILM 

Going  Like  Wildiire 

Price  Includes  guaranteed  machine  processing. 

AMBERTINT   $1.25 

A  practical  every-day  film  for  outdoors.  Flnegrtln, 
seml-ortho,  wide  latitude. 

OUTDOOR    $1.25 

Eicellent   outdoor   film   with   enough   speed  for 
almost  all  conditions.  Wide  latitude. 
All  film  machine  processed  under  Eastman  Kodak  Co.'s 
patents 

Calltcrnia  Customers  Include  Sales  Tax 

HOLLYWOODLAND  STUDIOS 


30UTH  GATE 


CALIFORNIA 


Movies 


KODACHROME 


Slides 


■'THE  END";  16ram.  with  fade-out,  50c  each. 
Without  fade-out,  3  for  $1.00:  some  at  4  for  $1.00. 
"YOSEIIITE" ;  15mm.  any  length,  at  18c  per  foot. 
TOSEMITE  ";  Kodnslldes.  35mm.  (2x2),  50e  each. 
Other  subjects  (both  16mm.  and  Slides):  The 
Blooming  Desert;  San  Francisco;  Alaska:  Canadian 
Rockies,  and  others, 

GUY  D.  HASELTON 


7936  Santa  Monica  Blvd. 


Hollywood,  Oalif. 


HOME  MOVIES  FOR  SEPTEMBER 


PAGE  371 


TITLE  troubled 


By  GEORGE  W.  CUSHMAN 

If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self-addressed  stamped 
envelope  if  you  wish  an  early  reply. 

Q.  My  trouble  is  getting  the  title  centered  properly. 
What  simple  method  can  you  suggest  that  will  insure  get- 
ting title  lined  up  accurately  with  camera? — /.  H.  M., 
Pocatello,  Ida. 

A.  See  page  145,  April  1942  issue  of  Home  Movies  for 
complete  instructions.  Also,  a  dependable  title  centering 
guide  for  your  camera  is  available  for  only  loc  by  writing 
the  editors. 

O.  Your  magazine  speaks  of  shooting  several  test  ex- 
posures in  order  to  determine  correct  exposure  for  shooting 
titles  on  positive  film?  How  about  developing  these  test 
strips?  Where  can  we  send  them? — A.  A.  G.,  Denver, 
Colorado. 

A.  Develop  them  yourself.  A  short  test  strip  2  or  }  feet 
long  can  be  developed  in  a  glass  bowl,  refrigerator  pan,  or 
any  glass,  earthenware  or  porcelain  household  receptacle, 
ecessary  developer  is  available  in  small  packages  at  photo 
supply  stores.  Ask  for  positive  film  developer  which  is 
packa,?^ed  complete  with  instructions  for  use. 

O.  In  using  an  auxiliary  lens  before  the  camera  lens  in 
filming  titles,  at  what  distance  should  the  lens  be  set?  Mine 
is  in  focusing  mount  permitting  shooting  as  close  as  three 
feet. — B.  K.,  Bronx,  N.  Y. 

A.  Camera  lens  should  always  be  set  at  infinity  when 
using  an  auxiliary  lens  before  it,  otherwise  sharp  focus  will 
not  be  obtained. 

Q.  I  recently  filmed  a  series  of  titles  lettered  on  blank 
pages  of  a  book.  However,  they  did  not  turn  out  to  my  sat- 
isfaction as  the  turning  of  the  pages  was  not  smooth.  I 
want  to  remake  these  titles  and  it  has  been  suggested  that  I 
film  them  in  reverse  to  smooth  out  the  page  turning  action. 
What  do  yon  suggest? — S.  R.,  Pravo,  Utah. 

A.  Film  them  in  reverse  as  suggested,  but  with  the  cam- 
era, not  the  titles,  upside  down.  The  film,  then  must  be 
turned  end  for  end  before  splicing. 

Q.  In  shooting  titles  on  a  small  revolving  drum,  I'm 
troubled  with  reflection  of  light  from  the  title  card.  There 
seems  to  be  a  highlight  across  the  center  of  the  drum  in 
spite  of  the  fact  I  used  the  blackest  black  paper  I  could  find. 

A.  Changing  the  angle  of  your  lights  should  eliminate 
the  trouble.  Elevate  your  lights  until  highlight  disappears. 
This  will  probably  require  increasing  exposure  if  lights  are 
moved  farther  away  from  center  of  title. 


HOME  MOVIE 

TITLES 


i 
i 


 i 


s  : 


PACE  372 


HOME  MOVIES  FOR  SEPTEMBER 


CLISSIFIED 


IDIERTISIIU 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  We  don't  bjild  better  nouse  traps, 
but  we  do  have  the  finest  selection  in  the  U.S.A. 
always. 

USED  CAMERAS 
Cine  Kodak  Special,   late   nnodel,   I'  Kodak  F:l.9. 

4H'  Kodak   F:4.5,  $455.00. 
8Bim.  Keystone.   F:2.5  lens.  $29.50. 
8nnm.  Perfex,  turret,   cartridge  loading,   F:2.5  lens, 

J42.50. 

8mnn.  Bell  &  Howell  Companion,  F:3.5  lens,  J42.50. 
8mm.  Cine  Kodak  Model  60,  F:l.9  lens,  with  case, 
$64.50. 

8mm.  Revere  Model  99  Turret,  F:2.5  lens,  IH'  Wol- 

lensak  F:3.5,  $97.50. 
8mm.  Zeiss  Movikon,  Zeiss  Sonnar  F:2  lens  and  case, 

$125.00. 

16mm.  Cine  Kodak  Model  E,  F:3.5  lens,  $32.50. 
16mm.  Bell  &  Howell  70A,  F:3.5  Cooke,  $44.50. 
16mm.  Filmo  121  Magazine.  Cooke  F:2.7  fixed  focus, 

with  case,  $57.50. 
16mm.  Simplex  Pockette  Magazine,  F;l.9  Kodak  An- 

astigmat,  optical  finder.  $64.50. 
16mm.  Cine  Magazine  Kodak.  F:l.9  lens,  with  case, 

$92.50. 

16mm.  Victor  5,  fitted  with  15mm.  Wollensak  F:2.7, 
r  Wollensak  F:l.5,  3'  Wollensak  F-4,  $167.50. 

16mm.  Filmo  70DA,  1"  F:l.8  Taylor-Hobson  Cooke, 
17mm.  Wollensak  F:2.7  in  focusing  mount,  3'  F:3.5 
Teletar.  with  case,  $250.00. 

16mm.  double  recording  sound  camera  outfit.  In- 
cludes Cine  Kodak  Special,  late  model,  with  1" 
F:l.9  lens,  Auricon  110  volt  synchronous  motor 
for  same,  new  model  Auricon  recorder  and  am- 
plifier with  microphone,  also  heavy  professional 
tripod.  Price  complete  $1250.00. 

USED  PROJECTORS 

8mm.  Keystone  J-8,  300  watt  lamp,  case,  $29.50. 

8mm.  Keystone  L-8  ,  500  watt  lamp,  $32.50. 

8mm.  Kodascope  Model  80.  300  watt  lamp,  case, 
$44.50. 

16mm.  keystone  Model  A-74.  300  watt  lamp,  case, 
$27.50. 

16mm.  Kodascope  B,  automatic  threading,  with 
case,  $32.50. 

16mm.  Bell    &    Howell    Diplomat,    750   watt  case, 
$182.50. 

16mm.  Victor  33  Sound  on  Film  Projector,  750  watt 
lamp,  complete,  $247.50. 

In  stock:  New  Filmomasters  8  and  16mm.,  Revere 
Deluxe.  Keystone  A-82,  Cine  Magazines  8  and 
16mm..  Filmo  Autoloads  and  Automaster  models. 
Bell  &  Howell  direct  focuser  for  Autoload  or 
Automaster,  $20.55.  Focusing  finder  for  Cine  Mag- 
azine 8,  $16.00.  Quick  Set  Jr.  Cine  Tripod,  $20.00. 
16mm.  Bell  &  Howell  Filmotion  Viewer  complete 
with  splicer,  heavy  duty  rewinds,  $98.70. 

Complete  stocks  of  new  cine  equipment,  all  makes. 
Send  for  Bass  Supplementary  List  of  Cine  Equip- 
ment up  to  date. 

BASS  CAMERA  COMPANY,  Dept.  HC,  179  W. 
Madison  St.,  Chicago,  Illinois. 

•  BELL  &  HOWELL  Academy,  12  inch  speaker,  very 
latest  type,  demonstrator,  $364.50.  Bell  &  Howell 
Utility,  reconditioned,  like  new,  priced  at  $339.50. 
New  39'x52"  beaded  tripod  screen,  $16.50.  Immedi- 
ate delivery  of  all  new  model  Bell  &  Howell,  East- 
man cameras  and  proiectors.  NATIONAL  CAMERA 
EXCHANGE,  Established  1914,  II  So.  Fifth  St..  Min- 
neapolis, Minn. 

•  BOLEX  16mm.  f/1.4  Hektor  lens,  case,  like  new, 
overhauled  by  Bolex  Co.,  bargain  $265.00.  Bell  & 
Howell  70-A,  Cooke  f'1.8  lens,  $60.00;  with  Dall- 
meyer  f/1.9  lens,  $59.00.  Ensign  Auto  Kinicam,  f/2.6 
Cinar  focusing  lens,  case,  $40.00.  All  guaranteed,  H. 
STERN,  872  Sixth  Ave.,  New  York,  Established  1858. 

•  I6MM.  SOF  projectors,  brand  new,  in  stock,  im- 
mediate delivery.  l6-35mm.  sound,  silent  equipment 
Cameras.  tripods,  lighting  for  amateur-profes- 
sional- Time  payments;  trades  accepted,  bought. 
MOGULL'S.  55  West  48th.  N.  Y.  C.  

•  8MM  EMEL  camera,  f/1.9  lens.  3-lens  turret,  sir- 
gle-fran-^e  release,  windback.  frame  counter.  A 
bargain  for  $100.00.  6-volt  motor  and  brackets  for 
camera.  $10.00.  J.  E.  WEBSTER,  Route  No.  5,  Knox- 
ville.  Tenn.   

•  SWAP  for  Defense  Stamps  hand-set  3  color  ani- 
mated 8-l6mm.  Kodacnrome  presentation  titles,  50c 
up.  Samples.  Free  stamp  appreciated.  4-SQUARE 
MOVIE  SERVICE.  Sheridan.  Indiana.  

•  8MM.  BOLEX  owners:  Depth  of  Field  charts  for 
Huao  Meyer  f/1.5.  also  for  Britar  f/2.7  1%'  tele- 
photo,  50c  each.  BRYANT,  921  Bergen  Ave.,  Jersey 
City,  N.  J.  

•  BOLEX  8  Vi'  f/1.5  Meyer  Kino  Plas'-nat  and  IH' 
f/1.9  Dallmeyer,  like  new.  $260.00.  K.  LOHOFF. 
516  N.  Frisco.  Tulsa.  Okla.  

•  DALLMEYER  3'  telephoto  lens  f/2.9  standard 
""ount.  special  inserts  included  for  extending  lens 
for  closeups,  titles — like  new,  $49.50.  Eastman  Spe- 
cial Reflex  image  magnifier.  $37.50.  Geared  pan 
head,  $4.50.  Spotlight,  focusing,  stand,  $6.50.  HER- 
MAN B.  CURLEE,  1517  Adams  St.,  Coshocton,  Ohio. 


#  Have  you  Some- 
thing to  sell? 

Turn  it  Into  cash  with  a  Home  Movies 
classified  ad! 

RATES:  Ten  cents  per  word;  minimum 
charge,  $2  cash  with  order.  Closing  date, 
lOth  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


FILM  RELEASES 


WANTED 


•  WANTED— I6mm.  Bell  &  Ho-^eN  Fi.r-.o  D.  A. 
camera.  Or  what  have  you,  complete  and  in  first 
class  condition?   GEORGE   N.   LATHROP,  Bristol, 

Vermont. 

•  WANTED — sound  projector  in  good  condition. 
State  make  and  model  and  lowest  price.  FRANCES 
ALDRICH,  39  Hayes  St.,  Arlington,  Mass. 

•  WANTED  —  uied  equipment.  Bargain  list  on 
requett.  PETERS,  41-B  So.  4th  St.,  Allentown,  Penna. 

•  DESIRE  15,  25,  75  millimeter  high-quality  focus- 
ing C-mount  fast  lenses.  JOSEPH  KOMM,  223  West 
115th  St.,  Chicago,  III. 

•  WANTED  for  cash,   one   used  Argus  C-3  with 

built-in  range  finder.  J.  F.  FORAN  1515  S.  Can- 
field,  Los  Arge'es,  Ca'':. 


TITLING 


•  TITLING  and  Clote-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20",  24",  32"  and 
40"  focal  lengths.  Can  be  used  on  all  titlers  which 
provide  for  interchange  of  lenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  lenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO..  3221  So. 
Flgueroa  St.,  Los  Angeles,  Calif. 

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
plete sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus,  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  end  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
all  titling  needs.  MIHENS  LEHER  CO..  Redlands, 
Calif. 


Help  your 
fellow  home 
movie  shooter 
have  fun! 


Dig  down  in  your  movie  closet  for  that 
extra  set  of  splicers  and  rewinds  that 
unused  camera,  that  spare  titler  or  pro- 
jector. 

They  may  be  just  the  thing  another 
hobbyist  needs.  There  are  two  ways  of 
turning  these  unused  pieces  into  film 
and  new  equipment.  Offer  them  for  sale 
or  trade  to  your  favorite  camera  store 
...  or  advertise  them  in  Home  Mo%'IES 
Classified  Section.  Ten  cents  a  word, 
minimum  two  dollars. 


•  .-jj.ECL  — t —  :  entj  for  rent 
or  s=  e.  fio  cepos>  'equ  rea.  -nln  one  month 
you  have  the  right,  for  only  75c,  to  exchange  reels. 
Otherwise  our  new  plan  guarantees  you  75%  re- 
fund within  10  days.  ABBE  FILMS.  1265  Broadway. 
New  York. 

•  8mm.-l6MM.  sound  and  silent  films,  projectors, 
and  cameras — bought,  sold  and  exchanged.  Trades 
or  terms  accepted.  Free  bargain  bulletin.  ZENITH 
308  West  44th,  New  York.  

•  YOURS  for  the  asking!  Mammoth  40-page 
f  Im  rental  catalog — silent,  sound,  8mm.  and  16mm. 
Forward  your  name  and  address  today.  NATIONAL 
CINEMA  SERVICE,  69  Dey  St.,  N.  Y.  C.  

•  SELLING  OUT  200  reels  16mm.  slapstick  com- 
edies,, cartoons,  travels,  400  feet  each,  $3.95  each. 
Trades  50c  reel.  We  buy  anything.  BOBS  154  E. 
47th  St.,  N.  Y.  C.  ■ 

•  SEVERAL  16mm.  sound-on-film  features  and  com- 
edies for  sale,  $5.00  per  reel  and  up.  ROBERT 
WY6ANT.   Heights  Theatre.  Houston.  Texas. 

•  SOUND  and  Silent  Films  exchanged,  bought, 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE,  5  Little  BIdg.,  Boston,  Mast.  

•  WRITE  Today  for  Free  Catalogsl  Sale,  rental, 
exchange.  Latest  film  releases.  All  purchases  guar- 
anteed. BAILEY  FILMS.  1651  Cosmo,  Hollywoed, 
Calif. 

•  100  FT.  8-l6mm.  silent-sound,  59c.  Castle,  Offl- 
clal  Films  bought,  sold,  exchanged.  Arts-catalogue 
sampJe  film,  lOc.  INTERNATIONAL  2120  Strauss' 
Brooklyn,  N.  Y.  

•  8MM.-I6MM.  films:  Castle,  Excel,  NuArt,  Offi- 
cial,  Hollywood — over  2000  rolls,  silent,  sound.  Join 
our  yearly  movie  club.  Camera,  films — Agfa.  East- 
man.   DuPont,    Solar  all   sizes,   colors.  COLLIER 

PHOTO  SALES.  9508  Nelson  Ave..  Telephone  Di-6836. 
Cleveland.  Ohio. 

•  MONEYMAKER!  "The  World's  Greatest  Passion 
Play."  16mm.  and  35mm.  Specify  sound  or  silent. 
Rent  or  purchase.  Superior  than  Oberammergau 
play.  HEMENWAY  FILM  CO..  Boston.  Mass. 

•  8MM  FILMS!  All  major  producers.  Ne--used 
prints.  Sales,  exchanges,  trade-ins.  RIEDEL  FILMS 
Dept.  HM-942  ,  3207  Joslyn  Rd..  Cleveland.  Ohio." 

•  100  FT.  I6mr-.  used  sound  films.  $1.00  postpaid. 
Good  used  16".^.  sound  features,  shorts  attractive 
prices.  BLACKHAWK  FILMS.  Dept.  HMl.  Daven- 
port. Iowa. 

KODACHROME  FILM  RELEASES 

•  KODACHROME  TRAVEL  FILMS.  Latest  releases 
now  available  for  distribution,  in  8  and  16mm.  A 
postcard  will  bring  listings.  KENWOOD  FILMS 
818  E.  47th  Street.  Chicago.  III.  

•  KODACHROME.  BW.  8-l6mm.  film  subjects  for 
grownups.  Lists,  color  sa  —  c'e  lOc.  No  postals  an- 
swered. JENKINS.   E'~  -3    ^.        Dea  e-s  *a-ted. 

FILMS  FOR  EXCHANGE 

•  I6MM.  FILMS  excKa-geo  '■'Xt  •-.  'tf-  sHent, 
$1.00;  sound,  $2.00.  Latest  releases.  Free  40  page 
catalogue.  BETTER  FILMS.  742  New  Lots  Ave., 
Brooklyn.   N.  Y. 

DUPLICATING  SERVICE 

•  Si. 25  PAYS  for  a  ff-,--ior  S-r-:.  aup^icate  of 
your  favorite  reel.  Our  Monocolor  duplicates  will 
preserve  those  fading  Kodachrome  movies.  Partic- 
ulars. ESO-S  PICTURES.  3945  Central,  Kansas  City. 

Missouri. 

PROCESSING  SERVICE 

•  MOTION  pic-u-e  p-ocessing.  iOC'  I6n-m..  75c; 
50-  I6m,m..  50c;  25'  8/8mm..  35c;  IV  8mm.,  2Sc. 
RITTER    FILM    SERVICE,    629    Lyman    Ave..  Oak 

Pa'k  Ml. 

TRADE 


•  REVOLVERS,  22  target  pistols,  automatics  and 
shotguns  accepted  In  trade  at  very  liberal  allow- 
ances on  all  makes  of  cameras,  projectors,  lenses, 
screens,  exposure  meters,  candid  cameras  and 
everything  photographic.  NATIONAL  CAMERA  EX- 
CHANGE, Establlsi-^ed  1914  il  Sc.  F>'ti-  S*.,  Mlr- 
neapolls,  Minn, 

MISCELLANEOUS 

•  STILL  PHOTOGRA^-^E^S.  Be-'c-e  your  photos 
of  Individuals  can  be  sold  with  safety,  you  must 
have  a  model  release  giving  legal  right  to  sell 
the  picture  for  publication  or  advertising  purposes. 
Model  release  forms  are  now  available,  ready 
printed  In  authentic  legal  manner,  50  for  25c  (coin) 
postpaid.  VER  HALEN  PUBLICATIONS,  6060  Sunset 
Blvd.,  Hollywood,  Calif. 


ORDER  FOR  SUBSCRIPTION 

iome  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,   $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Years  for  $4.00  in  the  U.  S. 

ME  MOVIES 
SO  Sunset  Blvd. 
Hywood,  Calif. 

Send  to..   

Address  

City  Stat*  

)  New  □  Renewal  □  Gift 

Send  to  


Address. 


NO  SUBSCRIPTIONS  ACCCPTED  FOR  LESS  THAN  ONE  YEAR 


Last  Call  for  Winners! 


Midnight,  September  30th,  is  the  deadhne  for  entries  in  Home  Movies'  1942 
Annual  Amateur  Contest.  Don't  put  off  entering  your  films  because  you  think 
they're  not  good  enough.  Your  entry  may  well  be  the  "dark  horse"  in  the  contest. 
And  remember,  there  are  17  awards — seventeen  chances  to  win! 

There's  the  magnificient  Lloyd  Bacon  trophy  sponsored  by  Warner  Brother's 
ace  director  for  the  best  picture  in  the  contest.  Then  there  are  three  awards  in  each 
of  the  Scenario,  Documentary  and  Family  Films  divisions  plus  achievement  awards 
for  outstanding  accomplishment  in  photography,  editing,  titling,  sound,  and  tech- 
nical results. 

Read  the  contest  rules — then  enter  your  film  today! 


CONTEST  RULES 


•  Entries  limited  to  1 6inm.  and  8mm.  films.  No 
restriction  as  to  length  or  subject.  You  may  sub- 
mit as  many  entries  as  you  wish. 

•  Transportation  on  entries  must  be  paid  both 
ways  by  contestant.  All  entries  will  be  promptly 
returned  after  review  by  judges. 

•  Don't  wait  until  final  week  to  submit  your  films. 
Send  them  in  as  soon  as  ready. 

•  All  entries  should  be  titled  at  least  to  the  extent 


of  a  main  title.  Professional  or  laboratory  pro- 
duced titles  are  permissible. 

•  Be  sure  to  label  your  film  reels  and  containers, 
giving  your  name  and  address  and  the  title  of  your 
production. 

•  No  entry  blanks  are  necessary.  Enclose  data  with 
entry  as  to  camera,  lens,  and  film  used;  also,  state 
whether  filters,  tripod,  exposure  meter,  and  any 
other  equipment  was  used.  This  information  has 
no  bearing  on  the  judging,  but  is  of  interest  to  the 
editors. 


HOME  MOVIES 

HOLLYWOOD'S  MAGAZINE  FOR  THE  AMATEUR 


^  SIXTH  25,000  PRINTING 

CURRENTLY  CORRECTED 

BUY  A  COPY  FOR  YOUR  KIT 
WHERE  YOU  SEE  THIS  SIGN 
DISPLAYED  r— 1 

^y^^^Jt^  COPIES  TO  DATE! 

'7      COMPLETE      ▼  '^^A^SLmI  ^^^^B  ' 

HANDBOOK  FOR  ^^^^IK 
THE  AMATEUR 
MOVIE  MAKER 

•^^^  Publisktdb,  ^1 

EASTMAN  KODAK  -^t^^^ 
f/jji-A^^  COMPANY 


EASTMAN  KODAK  COMPANY  •  ROCHESTER,  N.  Y.  ^ 


Harold  M.  Lambert 


i&tober  .  1942 

LARGEST  CIRCULATION  OF  ANY  AMATEUR  MOVIE  MAGAZINE! 


FIFTEEN  brand  new  Hugh  Harman 
animated  sound  cartoons  are  now 
araiiable  to  16mm.  sound  project- 
or owners.  Five  of  these  latest  films 
are  described  below.  Each  is  a  master- 
piece in  screen  entertainment  unsur- 
passed in  sound  and  print  quality. 


These  cartoon  films  are  available 
in  sound  in  either  KODACHROME 
or  BLACK  and  WHITE. 

—  PRICES  — 

Per  Reel 

BLACK  and  WHITE  $17.50 
KODACHROME  67.50 


mil"' 


Ask  Your  Dealer  to  Screen  These  New  Films  for  You! 


CIRCUS  DAZE  Bosko  and  his  dog  Bruno 
decide  to  take  Bosko's  girl,  Honey,  to  the 
circus.  Bruno  upsets  the  trained  flea  act, 
scattering  the  pests  throughout  the  circus. 
Lively  and  laughable  dialog  and  music. 
Order  by  catalog  No.  2139-C. 


THE  OLD  HOUSE.  Honey  takes  shelter 
from  a  thunder  storm  in  an  old  abandoned 
house.  Doors  slam,  shutters  screech  and 
Honey  fears  ghosts.  Bosko  and  Bruno  come 
gallantly  to  the  rescue,  encounter  some  hair 
raising  experiences.  Catalog  No.  2137-C. 

TALE  OF  VIENNA  WOODS.    Pan  and  a 

baby  deer  dance  through  the  woods  until 
encountered  by  a  pack  of  hunting  dogs. 
Clever  Pan  outwits  the  dogs  and  saves  the 
deer  in  a  thrilling  chase.  Marked  by  an  ex- 
ceptionally fine  musical  score.  Catalog 
No.  2129-C. 

THE  LOST  CHICK.  An  appealing  story  of 
Eggbert,  a  little  chick  born  in  a  squirrel's 
nest.  Later  rescued  by  its  mother,  a  bliz- 
zard ensues,  threatens  the  squirrels  and 
Mother  and  chick  brave  the  blizzard  to 
save  them.  Fine  dialog  and  music.  Catalog 
No.  2132-C. 


It  Not  Available  from  Your  Dealer  Please  WriU 


BOSi'vO  S  PARuOk  PRANKS.  Bosko  calls 
upon  his  sweetheart,  Honey,  and  sets  out 
to  entertain  her  with  songs  and  dances.  His 
antics  and  clever  dance  routines  are 
backgrounded  by  a  fine  musical  and  sound 
score.  Catalog  No.  2130-C. 


HOLLYWOOD  FILM  ENTERPRISES,  INC 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIF. 


DVISORY  EDITORS 


A.  K.  BAUMGARDNER 

Peoria  Cinema  Clu.b 


FER  BEZEK 


Chicago  Cinema  Club 


A.MES  BIALSON 

.mateur  Motion  Picture  Club  of  St.  Louis 


loss  BROWN 


Dallas  Cinema  Club 


ALTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  Pa. 

.  EMERSON  CLYMA 

Detroit  Society  of  Cinematographers 

llsSELL  A.  DIXON 

Pittsburgh  Amateur  Cinema  Club 

fRIL  DVORAK 

Suburban  Amateur  Movie  Club 


.kTHUR  E.  GIBBS 


ky  A.  HOOK 


Portland  Cine  Club 


Seattle  8mm  Club 


LfRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 


E.  NESTELL 


Cinemen  Clubl 


\RCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

iLBERT  B.  PETERSON 

Metropolitan  Cine  Club 

THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 


iED  E.  SNYDER 

Oes  Moines  Y.M.C.A.  Movie  Club 


SISSEL 


Austin  Movie  Club 


|URTIS  O.  TALBOT 

Metro  Movie  Club  of  Chicago 


Sflcond  CIats  Matter.  May  i,  1938.  at 
3Hic«  at  Los  Angelet,  Calif.,  undar  the 
Act  ol  March  3,  187?. 

>$criplion  rates:  U,  S.  52.50  per  year.  Canada 
i  Foreign  Countries,  $3.S0  per  year.  Single 
'ia<  25c.  Canadian  &  foreign  sin<^le  copies  3Sc. 
Advertising  rates  on  application. 


.  nome  

MOYIES 


•  Keep  'em  firing!  Buy  Defense 
Stamps  and  Bonds'. 


Reg.  U.  S.  Pat.  Off. 


Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications,  Hollywood,  Calif.   No  part  of  magazine, 
may    be    reprinted    without    specific  permission. 

Member  Audit  Bureau  of  Circulations 

CONTENTS  FOR  OCTOBER,  1942 

THE    READER     SPEAKS   37^ 

REVIEWS   OF    AMATEUR    FILMS  By    J.    H.    Schoetl   382 

LOW  COST  SOUND  FOR  EVERY  MOVIE  AMATEUR — By  Stanley  JepsoH  385 

SIMPLIFYING  TITLE  COMPOSITION — By  GeoTgc  W.  Cushmait   386 

MOVIE  OF  THE  MONTH — By  J.  H.  Schoeti   387 

ADVENTURE  IN  TIME-LAPSE  PHOTOGRAPHY  By  Arthur  M.  S/)iir//  388 

ONE  DAY  EDUCATIONAL  FILMING  PROJECT  By  Arthlir  Rowatt  ...  39O 

WHAT  AMATEURS  SHOULD  KNOW  ABOUT  FILM  PROCESSING 

— By  Stanley  E.  Andrews  391 
SHOOT  'em  in  MINIATURE — By  Curtis  Randall   392 

SIMPLE  WINDBACK  FOR   i6MM.  KEYSTONE  CAMERA 

— By  H.  F.  Knowles  393 

EXPERIMENTAL    CINE    WORKSHOP    394 

IF  YOU  WANT  A  FILM  TO  SHOW      396 

TITLE  TROUBLES — By  Geo.  W.  Cushman    407 

HOME  MOVIE  TITLES — By  Edvinnd  Turner  _    407 


CHAS.  I.  Ver  HALEN 

PUBLISHER 


C.  I.  Ver  HALEN.  |R. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Cellert,  62  West  45th  Street 
Vanderbilt  6-5254 


OCTOBER 


N  U  M  B  E  R  10 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
).  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S 


MAGAZINE 


FOR 


THE       MOVIE  AMATEUR 


PACE  378 


HOME  MOVIES  FOR  OCTOBER 


THE  MOST 

FOR  YOUR 

MOVIE 

MONEY 

Measured  in  terms  of  what  you  gef  for 
whaf  you  pay  KIN-O-LUX  MOVIE  FILMS 
prove  their  excepfional  value  by  a  speed 
and  latitude  that  "gets"  the  picture  and 
a  projection  quality  that  "gives"  finer 
results  and  a  nnore  complete  enjoyment  in 
motion  picture  making.  Be  critical.  Prove 
this  to  yourself. 

KIN-O-LUX 

MOVIE  FILMS 


The  Reader 


INDOOR  ONLY 

KlN-O-LUX  GOLD  SEAL 
Weston  100;  Scheiner  29° 
(No  Outdoor  ratings) 


OUTDOOR 

XIN-O-LUX  No.  2 
Weston  12:  Scheiner  20° 


INDOOR-OUTDOOR 

KIN-O-LUX  No.  3 
Weston  50;  Tung.  40 
Scheiner  24°;  Tung.  24 


OUTDOOR 

KIN-O-LUX  No.  I 
Weston  8;  Scheiner  18° 


Go  to  your  dealer  today.  AsIc  for  KIN-O- 
LUX  FILMS  in  the  size  and  footage  you 
require.  They  are  still  available.  If  your 
dealer  cannot  supply  you  (the  demand 
grows  greater  every  day)  go  to  another 
nearby  dealer  or  write  directly  to  us. 

KIN-O-LUX,  Inc. 

Dept.  H10«  105  W.  40  ST.  •  NEW  YORK  CITY 


Sound 

Here's  response,  and  interesting,  too, 
to  one  reader's  plea  regarding  the  addi- 
tion of  sound  to  home  movies: 

Dear  Sirs:  The  following  may  be  of 
help  to  Mr.  Art  Ford  of  Niles,  Ohio, 
who  inquired  through  "Reader  Speaks" 
on  how  to  add  sound  to  his  i6mm.  films. 

I  own  a  Motorola  Automatic  Record 
Changer,  which  plays  12  ten-inch  rec- 
ords, and  10  twelve-inch  (  transmitting 
the  music  to  any  radio  with-n  the  house.) 
This  apparatus  I  have  arranged  so  that 
I  can  plug  it  into  my  i6mm.  sound 
Bell  &  Howell  Projector,  a  simple  and 
cheap  arrangement  which  can  be  per- 
formed by  anyone  servicing  such  ma- 
chines. The  player  has  a  "Rejector" 
by  which  a  record  can  be  rejected  at 
any  time,  allowing  the  next  one  to  fall 
onto  the  disc  to  be  played,  which  is  an 
advantage  in  order  to  time  the  music 
for  a  particular  story. 

To  illustrate,  I  use  a  stop  watch  (al- 
though an  ordinary  watch  will  do)  to 
determine  the  exact  length  of  time  my 
film  will  run.  Keeping  this  time  in 
mind,  I  run  the  Record  Player  alone, 
attempting  to  suit  the  music  to  the 
story  and  also,  and  this  is  an  impor- 
tant point,  have  the  music  end  as  near 
as  possible  to  the  end  of  the  picture.  I 
m°an  by  this  to  make  a  fiished  product 
of  the  whole  thing.  It  means,  of  course, 
I  must  study  my  picture  after  I  have 
titled  it,  to  determine  where  music 
should  change.  I  found  very  few 
changes  are  necessar)%  if  my  film  is  ed- 
itedited  properly  I  "reject"  a  record 
only  for  more  suitable  music,  if  the 
tempo  or  the  meaning  of  the  picture 
changes;  and  I  may  be  able  to  let  my 
Record  Player  run  without  "rejection" 
through  a  four  hundred  foot  film,  if  a 
film  story  is  not  too  choppy. 

I  frequently  rent  various  films,  sphce 
them  in  with  my  silent,  to  make  almost 
an  hour  show  on  a  1600  ft.  reel.  With 
practice,  the  change  from  the  sound  to 
silent  film  with  record  music  cannot  be 
noticed  on  the  screen. 

I  used  to  think  my  titles  added  much 
to  mv  films,  but  after  "plugging  m" 
suitable  and  timed  music,  well,  that  to 
me,  topped  it  all. 

— R.  H.  Nordstrom,  D.  O., 
Providence,  R.  I. 

Lucky 

Confidentially,  in  spite  of  his  luck, 
we'll  wager  reader  Denny  has  taken  out 
some  of  that  very  inexpensive  insur- 


ance  on  his  movie  equipment.  Policies 
are  available  from  most  insurance  com- 
panies that  afford  complete  coverage  on 
the  average  amateur's  equipment  and 
accessories  for  about  $j.oo  per  year. 

Dear  Editor:  This  is  to  tell  you  how 
I  almost  went  completely  out  of  the 
home  movie  making  business  last  win- 
ter. Our  home  was  burglarized  one  af- 
ternoon, the  culprit  getting  a  number 
of  items  of  my  equipment.  I  was  sure 
he  would  return  to  get  the  rest  as  he 
also  picked  up  an  extra  key  to  the 
house.  Sure  enough,  five  days  later  he 
was  back.  We  nabbed  him  and  now  he's 
cooling  his  heels  in  the  penitentiary.  I 
recovered  the  missing  articles  as  he  had 
not  gotten  around  to  disposing  of  them, 
although  I  was  quite  worried  for  a 
while. 

Through  his  apprehension,  a  friend 
of  mine  also  recovered  a  $550.00  cine 
camera  that  had  been  stolen  from  him 
several  months  previously.  Just  another 
way  one  amateur  helped  another — al- 
though the  police  did  have  a  hand  in  it, 
God  bless  'em! 

— K.  C.  Denny, 
Fresno,  Calif. 

Wants  Mafte  Box 

Here's  opportunity  for  one  of  our 
Experimental  Cine  Workshop  alumni 
to  aid  a  fellow  cinefilmer: 

Dead  Sirs:  I  have  a  i6mm.  Bolex  cam- 
era for  which  I  want  a  matte  box  that 
will  permit  me  to  make  split  stage  ef- 
fects— one  that  can  be  attached  to  my 
tripod  independently  of  the  camera.  Am 
interested  in  hearing  from  any  ama- 
teurs who  have  built  such  a  device. 
— H.  Michaels, 

398  Union  Aie.,  Paterson,  N.  ). 

Film  Swappers 

Readers  who  have  exposed  footage  to 
siuap  for  other  exposed  footage,  espe- 
cially those  who  need  scenes  to  fill  out 
an  incomplete  reel,  are  invited  to  use 
this  column  for  making  their  wants 
known. 

Gentlemen:  Wish  to  contact  8mm. 
movie  amateurs  in  the  following  Texas 
cities  in  order  to  obtain  certain  scenes 
in  8mm.  Kodachrome  in  each:  El  Paso, 
Alpine,  Pecos,  Lubbock,  Amarillo, 
Wichita  Falls,  Ft.  Worth,  Tyler,  Long- 
view,  Waco,  Austin,  New  Braunfels, 
Kerryville,  Galveston,  Golaid,  Edin- 
burgh, and  Brownsville. 

— Hugh  J.  Gray, 

1 1 1 1  Winston  St.,  Houston,  Texas 


HOME  MOVIES  FOR  OCTOBER 


PACE  379 


HOME  MOV/E  S^SXnON! 


Here  comes  the  Ci»CI}S? 

UP  WITH  THE  BIG  TOP-ff/GHT  ON  rOUR  OWN  SCffffN.' 


,eVc  ri 


Its 


RCA  BLDG. 
NEW  YORK 


8  mm.— 16  mm. 
COSTS  LESS  THAN  UNEXPOSED  FILM! 

Hurry,  hurry,  hurry  to  the  biggest  show  on  earth!  Castle  Films  has 
captured  on  film  for  you  all  of  the  thrills  of  the  circus!  Never  before 
filmed!  Absolutely  unique!  The  circus  filmed  dttring  actual  perform- 
ance—under  canvas!  Here's  drama,  thrilling  action,  danger,  swift- 
paced  entertainment!  Ten  shows  in  one!  Possess  it  all  for  less  than 
the  cost  of  unexposed  film!  Don't  miss  owning  this  picture!  It  will 
give  you  and  your  family  the  thrill  of  thrills! 

All  Castle  16  mm.  films  are  Vap-O -Rated.  All  Castle  8  mm.  films  are  also  treated. 

CHECK  BELOW  FOR  CASTLE  FILMS'  NEW  FREE  CATALOGUE 

r*-  laur 


HAVE  CIRCUS  NIGHT 
IN  YOUR  OWN  HOME!  PROVIDE  PEANUTS, 
PINK  LEMONADE,  AND  POPCORN— AND  SHOW 
THIS  GREAT  PICTURE  FOR  YOUNG  AND  OLD! 

StND 

TO 


Send  Castle  Films'  "HERE  CoMES  THE  CiR- 
Icus  "  in  the  size  and  length  checked. 


Name- 


Address- 


City- 


HM 

lO-A 


8  mm. 

□  Headline-50  ft.  . 

$1.75 

□  Complete— 180  ft. 

5.50 

16  mm. 

n  Headline-lOO  ft. 

2.75 

□  Complete— 360  ft. 

8.75 

□  Soond-350  ft.  .  . 

17.50 

RUSS  BLDG. 
SAN  FRANCISCO 


■Remittonce  enclosed  □  Ship  CCD.  □  Send  Castle  Films'  FREE  CATALOGUE  □ 

B  J 


PAGE  380 


HOME  MOVIES  FOR  OCTOBER 


Help  Stop  Unpatriotic 

Waste! 

The  heat  is  on  in  Washington  to  conserve  motion  picture  film.  With  the  axe  of  economy 
justly  aimed  at  Hollywood  and  its  notorious  wasteful  methods,  film  moguls  frantically  seek  a 
scapegoat  to  take  the  rap  for  them.  The  less  articulate  amateur  photographer  is  singled  out  to 
be  the  fall  guy  and,  today,  Hollywood's  peddling  the  idea  that  government  film  needs  can  easily 
be  solved  by  simply  shutting  off  the  amateur's  supply  of  film. 

Greed,  as  usual,  is  behind  the  motion  picture  industry's  idea — a  greed  that  moved  them,  in 
depression  years,  to  introduce  double  features  to  bolster  waning  box  office  receipts.  But  the 
depression  is  behind  us  all — far  behind,  and  the  double  feature  has  long  been  recognized  as  the 
rankest  sort  of  waste.  Any  one  who  knows  that  2  and  2  make  4  realizes  that  double  features 
increase  the  well-being  of  no  one  but  moguls  of  the  motion  picture  industry  which  also  includes 
the  theatres.  The  public  does  not  need  double  features — never  did. 

Greed  for  still  more  revenue  from  theatrical  motion  pictures  now  forces  theatregoers  to 
sit  through  programs  three  and  four  hours  in  length  whereas  the  logical  and  long  accepted  unit  of 
theatrical  performance  established  by  legitimate  theatres,  vaudeville  and  opera  houses  was  a 
maximum  of  two  hours — until  advent  of  the  double  feature. 

In  spite  of  no  increase  in  film  costs  and  relatively  little  increase  in  production  or  exhi- 
bition costs,  theatre  admissions  during  the  past  90  days  have  skyrocketed,  having  been  increased 
as  much  as  50%  without  giving  theatregoers  any  more  for  their  money!  In  the  face  of  Govern- 
ment efforts  to  curb  inflation,  theatres  everywhere  are  establishing  inflationary  admission  prices. 

Undeniably  unpatriotic  in  motive,  the  belligerent  stand  of  Hollywood's  studios  and  theatre 
chains  against  the  ban  of  second  features  should  be  checked  now.  Here,  as  plain  as  day  is  the 
real  answer  to  film  conservation.  It  does  not  lie  in  curtailment  of  the  measly  bit  of  film  the  am- 
ateur runs  through  movie  and  snapshot  cameras  each  week. 

Already  the  amateur  photographer  has  suffered  patriotically  the  curtailment  of  photo- 
graphic and  cine  equipment.  And  he  will  gladly  give  up  his  film,  if  necessary.  But  he  will  not 
sacrifice  it  to  greed.  He  isn't  going  to  take  it  lying  down  if  his  sacrifice  means  that  Hollywood's 
studios  will  be  allowed  to  continue  wasting  valuable  film  as  usual  in  the  production  of  more  pic- 
tures than  are  necessary  during  the  emergency. 

Voice  your  protest  now.  Clip  the  coupon  below,  paste  it  on  a  penny  postcard,  sign  it  and 
mail  to  your  congressman  today  to  insure  that  government  check  on  film  waste  will  be  applied 
where  it  belongs — against  continued  production  of  unnecessary  double  feature  motion  pictures. 


MAIL 
THIS 
PROTEST 
TODAY . . ! 


* 

* 
t 
t 
t 
* 
* 

* 
* 
* 
* 
* 
* 
t 
* 
* 
t 
t 
* 
t 
t 
t 
* 
t 
* 
* 
* 
* 
t 
t 
* 
0 


My  Dear  Senator: 

The  continued  unpatriotic  waste  of  photographic  film  by  the  motion  picture 
industry  in  the  running  of  double  and  triple  features  should  be  abated  in  the  in- 
terests of  war  economy  by  limiting  any  motion  picture  show  to  two  hours,  thus 
saving  the  country  millions  of  feet  of  valuable  film. 

You  are  urged  to  protest  this  unwarranted  waste  of  film  and  the  inflationary 
action  of  theatres  in  increasing  admission  prices  jo'vf  and  more  in  face  of  increased 
business  and  no  proportionate  increase  in  overhead. 

"Wasteful  film  consumption  and  inflationary  admission  prices  encourage  other 
industries  to  demand  same  privileges.  It  is  your  duty  as  our  Senator  to  curb  this 
selfish  and  unpatriotic  action  by  eliminating  double  bills  and  placing  a  ceiling  on 
admission  prices. 

Very  truly  yours, 


HOME  MOVIES  FOR  OCTOBER 


PAGE  381 


I 


ItFRICAN  PYGMY  THRILLS 


Africa's  tiny  pygmies,  menaced  always  by  man-eating 
crocodiles,  and  pitted  against  the  savage  jungle,  span  a 
mighty,  reptile-infested  river,  in  a  never-before-filmed 
adventure  that  you  will  delight  in  showing  for  years. 
Own  this  astounding  movie  now!  Thrill  your  family 
and  friends! 


"SPORT  SPELLBINDERS!"^ 

Amazing  sports  action  shots  that  will  take  your 
breath  away!  Thrilling  tuna  fishing  . .  .  high  hur- 
dling and  pole  vaulting  .  . .  water  and  sand  skiing 
. . .  sea  sledding  . . .  dangerous  rapid  shooting  . . .  out- 
board racing  .  .  .  steeple-chasing  .  .  .  motorcycle  and 
jaloppy  racing  thrills  .  .  .  all  in  one  terrific,  action- 
crammed  film!  Here's  the  sports  movie  of  super 
thrills  and  spills  that  every  collector  will  be  proud 
to  own!  Don't  wait!  Own  and  show  it  now! 

mss^       ais/z£  s£<£i/£c/s  y&ac^/if^m- 


TWO  NEW  CARTOONS! 

"PUSS  IN  BOOTS"— Famous  fairytale  comes  to  life  on 
your  own  screen!  A  masterpiece  in  animation!  Fun  for 
young  and  old! 

"SINBAD  THE  SAILOR"-Sinbad  sails  for  distant  lands! 
Meets  pirates!  Even  parrot  duels!  A  rollicking,  rib- 


A  TRAVEL  GEM! 

"BANFF  AND  LAKE  LOUISE"- Beautiful  panorama  of 
the  St.  Moritz  of  North  America!  Lofty  peaks!  Sublime 
vistas!  Stony  Indians  in  tribal  dances!  Thrill  to  Lake 
Louise,  loveliest  scenery  gem  in  all  the  world!  Enjoy  an 
outdoor  vacation  indoors  with  this  great  picture!  It's  a 
travel  "must"  for  every  collector! 


tickling  comedy!  i 

^  All  Castle  16  iidh.  films  are  Vap-O-Rated.  All  Castle  fl  mm.  films  are  also  treated. 

  ORDER  FORM —  — . 


ON  SALE  NOW  AT  YOUR  PHOTO  DEALER  -  OR 
SEND  THIS  HANDY  ORDER  FORM  TO  HIM  TODAY! 


RUSS  BLDG. 
SAN  FRANCISCO 


SendCastleFllms 
motion  pictures 
checked  In  the  size 
and  edition  Indi- 
cated : 

8MM.  SIZE 

16MM.  SIZE 

Headline 
50 ;  eet 

M— 

Complete 
180  Feet 

Headline 
100  Feet 

$275 

Comp'ete 
360  Feet 

350  Feet 
Sound 

$1750 

"AFRICAN 
PYGMY  THRILLS" 

"SPORT 

SPILIBINDERS" 

"PUSS  IN  BOOTS" 

"SINBAD 
THE  SAKOR" 

"BANFF  AND 
LAKE  LOUISE" 

Name_ 


Address_ 


City_ 


_State_ 


Remittance  enclosed  □ 

COPR.  1942,  CASTLE  FILMS. 


Ship  C.  0 

INC. 


HM-IO 
D.  □ 


PACE 


382 


HOME  MOVIES  FOR  OCTOBER 


* 

* 
* 


•(}  MQi5a{f&  to 
tItQ  public  and 
ike  teiailet: 


COERZ 


PHOTO  LENSES 
AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 


We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  Untet 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  wt  invite  you  to  write  ui 
about  your  rtquiremenit  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prevailing  prices  lie  your  dealer  or 
ADDRESS  DEPT.  HM-IO 

C.  p.  Goerz  American  Optical  Co. 

Offle«  (nil  Factory 

*  317  East  34th  Street         New  York  * 


Bass  buys 
Cameras 

Paymaster  Bass,  they 
calls  me,  for  I  lay  the 
long  green  on  the  line  for  your  cam- 
era or  projector  .  .  .  then  turn  right 
around  and  sell  it  to  someone  else. 
That's  why  I  can  afford  to  be  so 
%:^''#"'''  generous.  Better  act  fast. 

Charles  Bass,  President 

/  buy  .  .  trade  .  .  or  sell 
Bell  and  Howell  -  Leica  -  Contax 
Cine  Kodak  Specials  -  Sound  Projectors 

Write  Dept.  HM 


REflEWS... 


o(  c4mateur  film^ 


B  y 


Although  aii  of  the  films 

reviewed  here  are  entered  in  Home 
Movies'  1942  Annual  Amateur  Contest, 
the  critical  remarks  that  follow  do  not 
necessarily  indicate  the  films'  chances 
in  the  contest.  Rather  they  are  the  re- 
sult of  concentrated  analysis  with  the 
object  of  not  only  helping  each  pro- 
ducer in  his  future  movie  making  ef- 
forts but  to  point  out  filming  improve- 
ments and  reveal  continuity  ideas  that 
should  interest  the  average  reader. 

This  department's  sole  aim  is  to  help 
the  amateur  improve  his  home  movie 
technique  and  to  this  end  the  follow- 
ing reviews  are  dedicated: 

You  Can't  Win,"  awarded  a  3 -Star 
merit  leader  by  Home  Movies'  review- 
ers, is  a  clever  continuity  in  8mm.  Ko- 
dachrome  running  175  feet  and  notable 
for  many  unique  comedy  touches. 

The  picture  opens  with  attractive 
main  and  credit  titles  and  proceeds  to 
tell  the  story  of  several  married  couples 
brought  into  conflict  through  a  poker 
game.  In  the  first  scene  we  see  one  hus- 
band hard  at  work  editing  his  movie 
films.  His  wife  sits  impatiently  in  the 
parlor,  wishing  for  something  exciting 
to  happen.  The  phone  rings  and  the 
wife  answers  to  receive  an  invitation 
from  a  neighbor  for  her  and  her  hus- 
band to  play  bridge. 

The  busy  husband  refuses  to  accom- 
pany her  and  the  wife  reluctantly  goes 
to  the  bridge  game  alone.  After  she 
leaves,  comes  a  phone  call  for  the  hus- 
band. It's  from  his  club,  summoning 
him  to  a  poker  game.  Putting  away  his 
films,  he  departs  for  the  club. 

At  the  club  we  see  other  members 
being  phoned,  also  see  the  members  on 
the  other  end  of  the  linje  receiving 
calls.  One  man,  unopposed  by  his  wife, 
accepts  the  invitation  and  departs  with- 
out incident.  Another  chap  does  not 
fare  so  well.  He's  busy  washing  dishes 
when  his  call  comes.  His  wife  answers 
the  phone.  Obviously,  the  real  boss  of 
the  family,  she  stands  by  to  hear  the 
conversation.  She  agrees  to  her  husband 
going  to  the  poker  game,  "after  he 
finishes  the  dishes."  Reluctantly  the 
kitchen  slave  goes  back  to  his  dish- 
washing while  his  wife  resumes  read- 
ing a  magazine  in  the  parlor.  She 
soon  falls  asleep,  giving  her  spouse  op- 


•  All  amateurs,  whether  subscHbers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two,  three,  and  four  stars,  and  filnts 
qualifying  f»r  two  or  more  stars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  will  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 


portunity  to  slip  away  without  finish- 
ing the  dish  washing  chore. 

The  men  assemble  at  the  club  and 
the  game  is  progressing  nicely  when  the 
wife  of  our  last  described  member 
awakes,  finds  husband  has  slipped  away 
while  she  napped.  Calling  the  club  on 
the  phone,  she  summons  her  spouse 
home.  When  he  returns  he's  set  upon 
and  scolded,  and  returned  to  the  kitch- 
en to  resume  washing  dishes. 

The  wife  of  the  chap  who  went  to 
the  poker  party  unopposed,  awakes 
from  her  nap  to  find  it  past  midnight 
and  no  husband  in  the  house.  Taking 
her  rolling  pin  in  hand,  she  sits  up  to 
await  his  return.  When  he  does  get 
home,  there's  a  chase  with  the  husband 
dodging  behind  the  sofa  to  avoid  the 
rolling  pin. 

The  poker  game  breaks  up  with  the 
movie  amateur  the  big  winner  of  the 
evening.  He  returns  home  in  happy- 
mood,  undresses  downstairs  so  not  to 
awaken  his  wife,  and  tiptoes  to  the  bed- 
room. Meantime,  his  wife  has  gone  to 
bed  and  coyly  pretends  to  be  fast 
asleep  when  hubby  sneaks  into  the  bed 
beside  her.  As  soon  as  he's  asleep, 
she  slips  out  of  bed  and  removes  the 
poker  winnings  from  his  wallet,  ending 
the  story. 

Many  deft  comedy  touches  enlivened 
this  picture.  The  execution  of  them  is 
a  distinct  credit  to  the  ability  of  the 
film's  producer,  Kobe  G.  Vander  Molen 
of  Kalamazoo,  Mich.  In  one  instance, 
the  poker  players  are  gathered  about  the 
game  table,  ordering  drinks.  The  drinks 

•  Continued  on  Page  401 


Send 


mm 


AND  SHOW  HIWl 


A  SERVICE 

Every  Service  Man 
Will  Appreciate 

The  thrill  of  seeing  action 
movies  of  family  or  friends 
back  home  is  almost  as  good 
as  an  actual  visit.  Most  camps 
and  USO  centers  have  projec- 
tion equipment  for  showing 
8mm.  and  16mm.  movies.  If 
you  own  a  movie  camera,  you 
can  use  it  to  good  advantage 
taking  movies  to  send  to  the 
boys  in  service.  If  you  live 
near  a  training  camp  and  have 
a  projector,  there  is  no  finer 
way  to  entertain  the  boys  you 
invite  to  Sunday  dinner  than 
to  show  their  movies-from- 
home  for  them. 


* 

^  *  litmu  s. 

WAR  SAYINGS  ^ 
^    BONDS  and  ^ 
^  STAMPS  ^ 

^  ^ 


THEY  ARE  EASY  TO  TAKI 


CAMERA 


Your  relatives  or  friends  who  are  in  training  camps 
will  get  a  wonderful  thrill  out  of  Revere  movies  of 
events  back  home. 

With  the  Revere  8mm.  Camera,  anyone  can  take  mar- 
velous pictures  in  sparkling  black-and-white  or 
brilliant  natural  colors.  Simple  to  load  and  to  operate! 
Just  look  through  the  built-in  optical  view  finder  and 
press  the  button!  What  you  see,  you  take.  The  Revere's 
exclusive  reciprocating  sprocket  film  control  is  an 
important  reason  why  Revere  home  movies  are  al- 
ways so  steady.  As  the  film  winds  on  to  the  take-up 
reel  the  sprocket  control  prevents  any  tugging  on  the 
film  gate. 

For  brilliant,  steady  projection  of  8mm.  movies,  use 
a  Revere  Projector!  It  has  a  ^oo-watt  optical  system 
with  fast  F  i.6  lens,  precision-built  mechanism,  double 
blower  coohng  system  for  lamp  and  film,  and  many 
other  advanced  features.  Revere  Camera  Company, 
Chicago,  Illinois. 


REVERE    "88"  CAMES^A 

takes  movies  of  which  you  will  be  truly  proud.  It  has 
many  advanced  features  including  Eastman-licensed 
spool  and  spindles,  exclusive  reciprocating  cprocket 
film  control,  5  speeds,  built-in  parallax-corrected 
view  finder  with  large  eye-piece,  strong  spring  motor, 
positive  speed  governor  control,  stainless-steel  aper- 
ture and  gate  plate,  spring  tension  for  film-width 
variance,  and  visible  footage  counter.  Complete  with 
Wollensak  F  3.5  lens,  $38.50. 


mm 


mmmm 


PAGE  384 


HOME  MOVIES  FOR  OCTOBER 


"BALANCE,"  by  Ray  Johnson  of 
Proiideoce,  Rhode  Island.  Taken  at 
night  with  flash  bulb,  this  remark- 
able photograph  has  won  many  en- 
viable awards  for  its  dramatic  por- 
trayal of  aaion  at  the  circus.  Doesn't 
it  exhibit  detail  you'd  like  in  your 
own  enlargements.'' 


Ray  Johnson  writes,  "For  many  years 
I  have  been  using  WoUensak  lenses 
with  excellent  results.  'Balance,'  like 
all  of  my  enlargements,  was  made 
with  a  iVi"  f4.5  WoUensak  Enlarg- 
ing Velostigmat."  Improve  >«/ttr  pho- 
tography with  a  Wollensak. 


HOHE  MOVIES 


Published  in  Hollywood 
OCTOBER  1942 


apparatus  now  a.  ^''^''^e,  n^usic  ^^^^m 
^      ^'le  amateur'. ^-  ^°^nd  eff^., 

^^^'■s  command.  ^re  easy  to  n  ^ 

^       produce  vv/th 


LOW  COST  SOUiD  FOR  lUU 

MOVIE  lIHilTEllR 


illOST  every  movie  amateur  is 
agreed  that  the  next  big  development 
in  the  field  of  amateur  movies  will  be 
in  practical  low-cost  sound.  Whether 
this  is  to  be  sound  on  film  or  a  universal 
method  of  synchronizing  films  with  disc 
recordings  is  difficult  to  determine  at 
this  time.  But  the  increasing  interest  of 
movie  amateurs  in  sounding  their  pres- 
ent film  productions  with  recordings 
will  undoubtedly  have  a  strong  influence 
on  the  early  stages  of  this  inevitable  new 
development. 

In  the  meantime,  however,  there  is 
no  need  for  either  8mm.  or  i6mm. 
movie  amateurs  to  wait  for  new  devel- 
opments if  they  conscientiously  want 
acceptable  sound  for  their  films.  The 
sound-by-disc  methods  which  so  many 
amateurs  have  successfully  employed 
are  really  very  simple.  The  additional 
equipment  required  may  be  an  ordinary 
electric  phonograph  or  a  dual  turntable 
built  especially  for  the  purpose  of  play- 
ing recordings  simultaneously  with  pro- 
jection of  films. 

Where  special  recordings  of  narration 
and  sound  effects  are  desired,  such  rec- 
ords can  be  made  with  the  assistance 
and  use  of  recording  equipment  of 
one's  local  radio  dealer.  Nearly  all  large 
radio  and  musical  instrument  dealers 
have  recording  apparatus  with  which 
they  make  recordings  of  various  sizes 


for  the  trade.  In  some  of  the  larger 
cities,  special  recording  service  is  of- 
fered movie  amateurs.  Then  there  are 
the  many  combination  radio-phono- 
graph-recorders which  have  been  sold 
for  home  use  which  are  capable  of  turn- 
ing out  very  acceptable  recordings  to 
be  played  with  picture  projection. 

After  the  war  is  ended,  simple  and 
inexpensive  sound  cameras  for  the  am- 
ateur may  be  produced.  Their  practi- 
bility  for  ordinary  filming  of  everyday 
amateur  subjects  is  questioned,  however. 
Sound  relevant  to  the  picture  frame 
does  not  run  adjacent  to  it  but  several 
frames  in  advance,  and  this  would  make 
the  amateur's  task  of  editing  his  films 
almost  an  impossibility.  To  provide  the 
amateur  with  film  he  can  shoot,  but 
cannot  afterwards  cut,  would  seem  to 
be  against  all  his  elementary  principles. 
Ir  is  all  the  more  evident,  therefore,  that 
sound  —  synchronized  or  otherwise  — 
through  the  medium  of  records,  will 
continue  to  prevail  for  sometime  in  the 
realm  of  strictly  amateur  movies. 

Various  enterprising  amateur  clubs 
have  produced  plays  on  i6mm.  film 
with  sound  on  discs  and,  by  various  in- 


genious electrical  or  mechanical  meth- 
ods, have  synchronized  projector  with 
turntables.  But  such  procedure  again 
departs  from  the  simplicity  which  the 
,  average  amateur  demands,  and  calls  for 
endless  "fiddling"  about  with  more  or 
less  elaborate  mechanism. 

But  assuming  the  film  is  planned, 
while  making  and  cutting,  to  avoid 
critical  synchronization  with  the  sound, 
then  the  problem  is  greatly  simplified. 
Ordinary  turntables,  singly  or  in  pairs, 
v/hich  play  at  a  constant  speed  and  can 
be  controlled,  will  provide  ample  syn- 
chronization of  recordings  with  this 
type  of  film. 

Before  cutting  a  recording  of  com- 
mentary to  be  played  with  a  film  it  is 
essential  that  the  amateur  first  familiar- 
ize himself  with  the  narrative  which 
may  or  may  not  be  continuous  but  will 
have  background  music  designed  to 
swell  in  volume  during  the  pauses  in 
the  commentary.  Or  a  commentary  may 
bo  considered  unnecessary  and  only  mu- 
sic and  sound  effects  played.  But  before 
this  stage  is  reached  the  amateur  should 
be  certain  that  no  further  cutting  or 
•  Continued  on  Page  400 


t1 


r'. 
V; 


385 


HOME  MOVIES  FOR  OCTOBER 


•  The  "letter"  style  of  titling,  where- 
in closeups  of  a  personal  letter  are 
used  as  subtitles.  Success  of  such 
titles  depends  upon  their  being  pho- 
tographed in  sharp  focus. 


•  Example  of  a  well  composed  hand 
lettered  title  explaining  an  operation 
in  a  movie  record  of  building  a  home, 
it  states  a  simple  fact  that  might 
otherwise  be  given  orally  while  screen- 
ing the  film. 


^    m^efore  cedi^r  siding 
At  JD  Is  put  on,  hebvy 
Er^'rootini  felt  is  euDplK 
oyer  stmthinA  to  5«>.I 
—  possible  cr6.cks. 


SIMPLIFlIIli 

TITLE 
tOIUPOSlTlOW 


w 


H  M 


^OME  amateurs  make  their  own 
titles  while  others  prefer  to  have  a  com- 
mercial title  laboratory  make  them.  But 
in  either  case,  the  amateur  must  decide 
upon  the  kind  and  number  of  titles  he 
wants,  and,  in  most  cases,  compose  or 
"write"  them. 

Composing  a  title  —  arranging  the 
words,  etc. — is  as  interesting  as  com- 
posing a  scenic  shot  and  it  is  surprising 
that  so  few  amateurs  give  this  phase 
of  their  hobby  so  little  thought.  For  too 
often  titles  are  composed  and  photo- 
graphed in  a  hurry  without  much 
thought  given  to  composition  or  to  the 
effect  they  will  have  on  an  audience. 
Titles  interestingly  written,  bind  scenes 
together  more  firmly  and  make  for  a 
smoother  flowing  picture. 

This  laxity  frequently  begins  with 
the  main  title  and  continues  through- 
out the  picture  where  there  is  no  imag- 
ination in  the  name  title  and  usually 


less  in  the  picture  as  a  whole.  Examples 
of  unimaginative  main  titles  are  "Our 
Vacation  -  1 941"  or  "Our  Trip  Through 
the  West"  which  have  opened  countless 
amateur  vacation  and  travel  movies. 
Such  titles  lack  sparkle  and  glamour. 
Contrast  these  with  such  titles  as 
'  Roamin'  In  Wyomin'  "  and  "Flight  of 
the  Hawkes,"  the  latter  which  captioned 
a  film  of  a  Pan-American  airways  tour 
of  Central  and  South  America  by  a 
family  named  Hawkes.  Such  titles  are 
different,  not  "repeats"  of  titles  used 
by  other  movie  amateurs.  A  clever  title, 
one  that  intrigues  an  audience,  will,  un- 
less the  photographic  content  of  the 
film  is  bad,  send  a  picture  off  to  a  good 
start  and  make  it  more  thoroughly  en- 
joyable. 

Where  it  is  desired  to  convey  or  indi- 
•  Continued  on  Page  jpX 


•  Verses  from  famous  poems  prove 
ready-written  titles  for  many  home 
movies — this  from  a  movie  complete- 
ly titled  with  verses  from  several  fa- 
mous poems. 


Hoppy  the  man, whose  wish  and  care 
A  few  poternoi  acres  bound 
Content  to  breathe  li^nottve  oir 
InNeown  ground. 


HOME  MOVIES  FOR  OCTOBER 


•  Frame  enlargements  from  1 6mm. 
Kodachrome  film,  "Pottery  Making 
As  a  Hobby,"  elected  the  Movie  of 
the  Month  for  October  1  942. 


'URING  the  latter  part  of  1940, 
Home  Movies  published  a  series  of  ar- 
ticles on  the  "Glorified  16,"  a  i6mm. 
Filmo  restyled  by  its  owner  to  include 
built-in  mechanism  for  automatically 
producing  wipe-offs  and  dissolves.  Not 
long  after,  V.  L.  Saint  of  Lyons,  Kansas, 
set  to  work  revamping  his  Victor  cam- 
era along  similar  lines.  His  was  a  very 
successful  job,  too,  and  with  it  he  filmed 
the  picture  we  have  selected  as  the 
Movie  of  the  Month,  "Pottery  Making 
As  a  Hobby." 

Filmed  in  Kodachrome,  400  feet  in 
length,  much  of  the  success  of  this  pic- 
ture is  directly  attributable  to  the  cine- 
matic effects  made  possible  with  Saint's 
restyled  camera.  A  documentary  with 
educational  value,  "Pottery  Making 
As  a  Hobby"  flows  smoothly  from  se- 
quence to  sequence  through  the  me- 
diums of  wipes  and  dissolves  that  are 
as  professional  as  anything  turned  out 
by  Holly^'ood. 

Inspiration  for  this  picture  resulted 
from  a  casual  meeting  with  a  Lyons 
housewife  whose  hobby  of  home  cera- 
mics was  the  object  of  wide  admiration 
in  the  community.  Saint  suggested  he'd 
like  to  make  a  motion  picture  record  of 
her  work.  The  housewife  agreed,  and 
then  followed  filming  activities  which 
spread  over  a  period  of  several  months. 
Because  the  ceramics  hobbyist  indulged 
in  all  branches  of  the  art,  from  mixing 
her  own  clays  to  mould  making,  mould- 
ing, modeling  and  pottery  wheel  man- 
ipulation, as  well  as  glazing  and  firing 
the  product  of  her  industry,  it  was  im- 
possible to  shoot  the  routines  from  A 
to  Z  in  a  couple  of  days  Hollywood 
studio  fashion. 

Obviously  Saint  spent  a  great  deal  of 
time  in  studying  the  woman's  interest- 
ing work  and  particularly  every  step  in 
each  branch  of  it.  For  his  picture  is 
probably  as  complete  a  document  of 
pottery  making  as  will  be  found  any- 
where. Some,  for  whom  the  picture  has 
been  screened,  have  ordered  and  since 
received  duplicate  prints  of  it. 

The  picture  begins  with  an  introduc- 
tory foreword  that  tells  of  home  pot- 
tery making  as  a  hobby.  The  woman  is 


MOl'IE  oi  the  MONTH 


By  J       .  H  . 

introduced  compounding  clay  into 
"slip"  of  which  her  pottery  is  made. 
All  of  the  steps  necessary  to  prep- 
aration of  the  slip  are  shown  in  close- 
up,  as  they  should  be,  which  accounts 
for  much  of  the  picture's  interest.  Saint 
knows  his  camera  angles,  the  value  of 
closeups  and  how  to  pour  light  into  a 
scene  for  best  photographic  results,  and 
these  attributes  become  the  more  obvi- 
ous as  the  picture  unfolds  on  the  screen. 

After  the  slip  is  prepared,  we  are 
next  shown  preparation  of  the  mould, 
pouring  sHp  into  the  mould,  and  then 
the  finished  product  ready  for  decorat- 
ing and  firing.  Well  written  informa- 


tive titles  explain  each  step  of  the  pro- 
cess. 

The  next  sequence  covers  the  art  of 
forming  pottery  on  the  revolving  pot- 
tery wheel,  one  of  the  oldest  methods 
known  to  man  but  slightly  modernized 
and  still  in  use.  Again  the  clay  is  shown 
being  prepared  in  the  manner  required 
for  this  type  of  work,  then  placed  on 
the  wheel.  As  the  lump  of  clay  revolves, 
deft  hands  form  it  into  a  flower  bowl. 

Clay  modeling,  the  third  phase  of 
the  ceramitist's  hobby,  becomes  even 
more  intriguing  as  with  an  assortment 
of  tools,  brushes,  etc.,  we  see  the  wom- 
•  Continued  on  Page  40} 


387 


HOME  AAOVIES  FOR  OCTOBER 


ADIEITURE  II 

TIMELIPSE 

CIIEMITOGRIPHI 


H  U 


1. 


[F  all  the  Kodachrome  movies  of 
flowers  were  spliced  together,  they'd 
make  pretty  monotonous  screen  fare  de- 
spite color  or  quality  of  photography. 
But  let  us  imagine  some  of  these  floral 
movies  filmed  in  time  lapse  photography 
— rosebuds  swelling  from  bud  to  full 
bloom  on  the  screen  before  our  very 
eyes;  a  golden  marigold  opening  and 
closing  within  the  space  of  a  minute  in 
action  that  ordinarily  takes  hours. 

Ordinarily  considered  "still"  life  sub- 
jects, flowers  actually  are  live  subjects 
and  the  cycle  of  their  lives  and  particu- 
larly the  drama  of  their  flowering  cycle 


M 


furnishes  spectacular  movie  fare.  Time 
lapse  photography  of  flowers  and  grow- 
ing plants  is  possible  with  almost  any 
cine  camera  that  provides  for,  or  that 
can  be  altered  to  permit,  single  frame 
exposures.  In  the  last  analysis,  the  suc- 
cess of  the  venture  depends  upon  the 
apparatus  built  to  automatically  operate 
camera  and  lights  at  established  intervals 
during  the  budding  and  flowering  cycle. 
As  far  as  this  writer  knows,  there  is  no 
manufactured  equipment  marketed  for 
this  purpose.  The  amateur  cinephoto- 
grapher  must  fashion  it  himself.  This 
he  can  easily  do,  from  materials  fortu- 


•  Apparatus  designed  and  built 
by  the  author  that  automati- 
cally illuminates  scene  and 
makes  single  frame  exposures 
at  ten-minute  intervals. 


nately  still  available,  providing  he  is 
at  all  mechanically  inclined. 

Figures  i,  2,  3  4  and  6  on  these  pages 
illustrate  a  comparatively  simple  appar- 
atus which  I  constructed  for  the  pur- 
pose of  operating  my  Cine  Kodak  in 
time-lapse  photography  of  flowers.  A 
discaraed  electric  clock,  a  doorb;ll,  two 
mercury  switches,  a  toy  train  trans- 
former, spring  projector  belt  and  mis- 
cellaneous plugs  wires,  screws,  binding 
posts  etc.  are  the  parts  which  were  re- 
quired in  building  it  during  spare  hours 
in  my  garage  workshop. 

The  mechanics  of  the  device  are  quite 
simple.  Every  ten  minutes  the  conduc- 
tor B  Fig.  2,  replacing  the  minute  hand, 
comes  in  contact  with  one  of  the  six 
contact  points  on  the  face  of  the  clock. 
At  this  instant  the  conductor  A,  Fig.  2, 
replacing  the  second  hand,  contacts  an- 
other point  causing  the  photofloods  to 
light.  A  fraction  of  a  second  later  con- 
tact is  made  with  another  point  which 
actuates  the  single  frame  device  that 
moves  the  camera  starting  button  for  a 
single  frame  exposure.  As  conductor  A, 
Fig.  2,  continues  its  journey,  it  breaks 
circuit  with  the  two  contact  points.  The 
photofloods  are  extinguished  and  the 
single  frame  device  automatically  is  set 
for  the  next  exposure  ten  minutes  later. 

This  action,  repeated  over  and  over 
again,  produces  some  of  the  most  inter- 
esting movies  I  have  had  the  pleasure  to 
see.  Flowers  changing  from  bud  to 
blossom;  seeds  growing  to  plants;  for- 
mation of  chemical  crystals  and  the 
growing  of  toadstools  are  just  some  of 
the  fascinating  subjects  comprising  the 
new  field  of  cinematography  time  lapse 
camera  equipment  opens  up  for  the 
amateur. 

Flowers  are  particularly  good  sub- 
subjects  for  time  lapse  photography  be- 
cause of  their  color  and  the  fascinating 
and  dramatic  manner  in  which  they  un- 
fold in  the  transition  from  bud  to  blos- 
som. Almost  ever}'  known  flower  is  a 


ELECTRIC  CLOCK 


PR03&CTOR 


MO  voji 


BELL 

SOLENOID 

A' 


ELASTIC 


4- 


PLUG  FOR 
PHOTOFLOOOS 


Tuae  5l«CLH 

SWITCHES       PR'iWf  REL£/^SE 

SOLENOID 


Fig.  6 — Wiring  diagram  of  author's  apparatus  pictured  on  opposite  page. 


ready  subject  for  time  lapse  photog- 
raphy. Some  flowers,  Hke  the  poppy, 
four-o'clock,  marigold  and  some  daisies, 
provide  a  double  thrill,  opening  and 
closing  completely  within  a  24-hour 
period. 

Imagine  then,  the  tremendous  appeal 
that  can  be  given  your  garden  record 
by  the  inclusion  of  dramatic  action 
shots  of  your  favorite  flowers  opening 
and  closing.  Compare  a  film  of  this  sort 
with  the  usual  "snapshot"  movie  of 
flower  gardens.  Highly  educational  as 
well  as  providing  spectacular  screen 
fare  are  time  lapse  movies  of  the  growth 
of  seeds  and  plants.  Such  studies  easily 
can  be  filmed  with  the  apparatus  de- 
scribed here. 

Construction  details  of  the  time  lapse 
device  will  be  better  understood  by 
studying  the  accompanying  illustra- 
tions. In  revamping  the  electric  clock, 
I  fitted  a  small  panel  of  Vg"  prestwood 
over  the  face.  Six  holes  were  drilled  in 
a  circle  at  points  spaced  equally  ten 


minutes  apart.  Contact  points  were 
formed  of  sterling  silver  wire  and  in- 
serted in  the  holes,  and  all  were  soldered 
to  a  circle  of  copper  wire  at  the  back 
of  the  panel.  To  this  was  soldered  one  of 
the  current  leads  as  shown  in  Fig.  6. 

Small  pieces  of  discarded  clock  spring 
were  soldered  to  the  minute  hand  and 
the  improvised  double  second  hand. 
This  new  second  hand  was  formed  from 
brass  spring  wire,  bent  to  proper  shape. 
At  the  end,  a  piece  of  silver  was  sol- 
dered. It  was  found  that  electrical  con- 
tacts of  silver  with  silver  eliminate  arc- 
ing when  the  circuit  makes  or  breaks. 
Low  voltage  (24  volt)  from  the  toy 
transformer  provides  the  current  flow- 
ing through  the  minute  and  second 
hand  contacts,  then  to  the  solenoids, 
A  and  B. 

Two  mercury  switches,  C  and  D,  pro- 
vide the  contacts  that  control  lighting 
of  the  photoflood  lamps  furnishing  il- 
lumination for  the  subjects  being  pho- 
tographed. The  solenoids,  A  and  B,  are 
simply  coils  from  an  old  doorbell  mag- 
net. When  current  is  released  through 
contact  of  the  clock  hands,  these  coils 

•  Frame  enlargements  from  author's 
film  made  with  camera  operated  by 
home-made  time-lapse  control.  Note 
transition  of  iris  from-  bud  to  full 
flower. 


or  magnets  attract  the  metal  contact 
points  of  the  mercury  switches,  causing 
them  to  tilt  downward.  The  fluid  mer- 
cury inside  flows  around  two  electrical 
contact  points  completing  the  iio  volt 
lighting  circuit  to  the  photofloods. 

The  single-frame  device  which  I  built 
for  my  Eastman  model  K  camera  is  act- 
uated by  the  single  frame  solenoid  (Fig. 
6)  which  I  made  according  to  dimen- 
sions and  data  shown  in  the  drawing. 
When  contact  is  made  by  the  clock 
hands,  current  is  released  through  this 
solenoid  which  causes  the  metal  plunger 
to  move  downward  through  hollow  core 
of  the  coil.  The  spring  belt  F,  Fig.  }, 
4,  and  6,  attached  to  this  plunger  and 
connected  with  the  single  frame  device, 
is  pulled  downward,  operating  the  cam- 
era button  for  a  single  frame  exposure 
When  the  current  is  disconnected 
through  action  of  the  moving  clock 
hands  an  elastic  attached  to  the  plunger, 
as  shown  in  Fig.  6,  returns  the  plunger 
to  normal  position. 

A  suitable  case  and  stand  for  the 
camera  and  time  lapse  apparatus  was 
constructed  from  wood  with  a  sliding 
door  on  the  clock  compartment  which 
was  conveniently  removed  for  the  pho- 
tograph Fig.  I.  The  camera  base,  shown 
in  Figs.  I  and  4,  is  a  piece  of  plywood 
hinged  to  front  of  the  cabinet  in  such 
•  Continued  on  Page  406 

389 


PACE  390 


HOME  MOVIES  FOR  OCTOBER 


One-da^  educational 


PROJECT 


w 


\^  HAT  movie  amateur  has  not 
wished  hopefully  that  someday  he  might 
spare  a  roll  of  film  which  could  be 
squandered  with  abandon  in  the  shoot- 
ing of  camera  tests  in  lighting,  expos- 
ure, use  of  filters,  etc?  The  average  film- 
er's  experience  that  comes  from  shoot- 
ing, frugally,  a  roll  of  film  at  infre- 


quent intervals  is  marked  by  innumer- 
able mistakes.  His  filming  education  is 
slow  and  long  drawn  out. 

Possibly  his  camera  is  fitted  with  an 
f^  3.5  lens.  It  provides  four  camera 
speeds.  Yet  he's  never  had  opportunity 
to  compare  the  depth  of  focus  results 
between  a  shot  made  at  f/  11  and  f/y.y. 


has  never  thought  of  filming  at  a  speed 
other  than  16  frames  per  second.  Filters 
are  comparatively  inexpensive,  but  so 
far  he's  never  used  them;  knows  noth- 
ing of  their  possibilities  except  what 
he's  read  in  magazines  or  books.  Per- 
haps yours  is  a  parallel  experience. 

On  the  basis  that  the  trial  and  error 
method  is  the  only  sure  system  by  which 
successful  cinematography  may  be  mas- 
tered, why  not  enter  upon  a  one- day 
educational  project  in  filming?  Rough- 
ly the  plan  consists  of  loading  camera 
with  a  fresh  roll  of  panchromatic  film, 
then  shooting  various  test  shots  on  the 
following  subjects: 

Exposure:  Few  amateurs  ever  have 
opportunity  to  compare  the  result  of  a 
difference  of  J/2  to  a  full  stop  in  expos- 
ure. Often  films  that  appear  properly 
exposed,  actually  are  off  Yz  to  a  full 
stop.  This  frequently  happens  where  an 
exposure  meter  is  consistently  used — 
particularly  one  that  may  register  in- 
nacurately.  By  employing  some  of  our 
test  footage  on  exposure  trials,  much 
valuable  information  may  be  gained. 

Assuming  a  bright  sunlit  day  is  chos- 
en for  the  tests,  set  up  the  camera  fo- 
cused on  an  average  scene.  Take  a  me- 
ter reading  for  the  first  exposure,  then 
shoot  the  scene,  allowing  about  eight 
seconds  for  the  shot.  Without  moving 
the  camera,  next  make  a  shot  of  the 
same  length  with  the  lens  stopped  down 
Yz  stop,  then  again  at  one  full  stop 
less.  Repeat  the  procedure  with  the  lens 
opened  up  Yz  stop,  and  again  one  full 
stop  over  the  exposure  allowed  the  in- 
itial shot.  When  screened,  these  shots 
will  reveal  some  startling  results  and 
it  may  be  found  that  best  results  with 
a  particular  camera  and  exposure  meter 
will  be  obtained  by  setting  exposure  a 
half  or  full  stop  less  or  more  than  in- 
dicated by  the  meter. 

Pilfers:    Another   test   that   can  be 

•  Continued  on  Page  404 


•  Loading  the  camera  with  a  roll  of 
pan  film  and  taking  it  into  the  field 
for  the  purpose  of  making  a  series  of 
test  exposures,  as  described  here,  is 
one  of  the  most  valuable  home  movie 
experiences  the  amateur  can  under- 
take. 


HOME  MOVIES  FOR  OCTOBER 


•  Winding  film  accurately 
on  developing  rack  is  a  te- 
dious job  especially  in  total 
darkness.  Here  the  amateur 
has  devised  a  guide  running 
on  a  threaded  bar  before  the 
rack  which  automatically  dis- 
tributes film  as  it  is  un- 
wound from  thp  camera 
spool. 


N  preceding  issues,  we  have 
taken  our  class  of  beginning  cineama- 
teurs  through  the  various  steps  of  mak- 
ing home  movies.  Now  we  have  reached 
the  point  where  somethmg  should  be 
said  about  the  processing  of  film — not 
so  much  because  some  amateurs  will 
want  to  engage  in  that  fascinating 
phase  of  the  hobby,  home  processing — 
but  because  every  movie  amateur  should 
have  a  smattering  of  knowledge  of  the 
reversal  process.  However,  our  discus- 
sion will  concern  the  routine  of  home 
reversal  processes  rather  than  profes- 
sional laboratory  procedure  . 

The  term  processing  differentiates 
from  the  more  common  photographic 


Fra»k  HoUfki 


What  amateur^  should  know  about 


B  y 


term,  developing,  in  that  it  describes  a 
procedure  of  cine  film  development  that 
is  more  than  straight  development.  As 
most  amateurs  know,  when  a  roll  of 
still  camera  film  is  sent  away  for  de- 
velopment and  printing,  we  receive 
back  from  the  laboratory  the  developed 
negatives  plus  prints  of  each  exposure. 
In  professional  35mm.  cinematography, 
the  original  film  is  returned  by  the  lab- 
oratory developed  as  a  negative  from 
which  one  or  more  "positive"  prints 
are  made. 

But  when  we  send  our  roll  of  rever- 
sal film  to  the  processing  laboratory, 
that  same  roll  of  film  is  returned  to  us 
in  the  form  of  a  positive  print — the  re- 
sult of  processing  which  involves  devel- 
oping the  film  to  a  negative  then  re- 
developing it  to  a  positive.  One  film 
serves  both  purposes.  There  are  no  sep- 
arate negative  and  positive  films.  The 
only  exception  to  this  is  where  i6mm. 
negative  film  is  used  in  the  camera  in- 
stead of  regular  reversal  film.  Then  the 
film  is  handled  the  same  as  35mm.  stu- 
dio negative. 

Many  have  discovered  in  home  pro- 
cessing,  a   fascinating    branch   of  the 


•  A  well  planned  home  reversal  plant.  Devel- 
oping and  drying  racks  are  rotated  by  motor 
power.  Handy,  too,  is  the  spacious  shelf  above 
the  racks  for  holding  all  necessary  ingredients 
for  developing  formulas. 


391 


lum  mmim 


E  . 


W 


amateur  movie  hobby.  Today  many  am- 
ateurs have  built  extensive  processing 
equipment  capable  of  handling  100  feet 
or  more  of  film  at  one  time,  and  en- 
abling them  to  shoot  a  roll  of  film  dur- 
ing the  day,  then  completely  process  it 
and  have  it  ready  for  projection  the 
same  evening. 

Some  amateurs  have  taken  to  process- 
ing their  own  movie  film  because  it  en- 
ables them  to  extend  their  filming  ac- 


tivities. They  purchase  cheap  bulk  film 
in  large  quantities — 200  and  400  foot 
rolls — slioot  it,  then  process  it  them- 
selves. Thus  they  gain  considerable 
practice  in  the  use  of  their  camera,  are 
able  to  test  theories  of  exposure,  com- 
position, etc.,  then,  when  ready  to  film 
something  important,  load  their  camera 
with  regular  reversal  film,  sending  it 
to  the  manufacturer's  laboratory  for 
•  Continued  on  Page  jpS 


Arthur  Zaugg 


Shoot  'em  in 

By  CURTIS  RANDALL 


Substituting  miniature  shots 

for  the  real  thing  is  an  old  established 
practice  in  Hollywood  studios,  and  one 
indulged  in  altogether  too  infrequently 
by  the  amateur  cinematographer.  Today 
with  rationed  sets  and  gasoline  limiting 
the  scope  of  professional  producers,  the 
miniature  shot  is  being  written  into 
more  and  more  current  shooting  scripts. 
"When  you  can't  shoot  the  real  thing, 
shoot  it  on  the  miniature  stage,"  is  the 
Hollywood  wartime  order. 

By  the  same  token,  the  amateur  who 
returns  from  a  filming  expedition  minus 
needed  scenes,  often  can  bridge  the 
gaps  with  cleverly  filmed  miniature 
shots  of  scenes  or  settings  built  to  scale 
on  the  kitchen  table  or  on  the  board 
of  his  film  titler. 


Take  the  case  of  Arthur  Faure  of  Los 
Angeles.  Last  year  he  spent  his  vacation 
touring  the  Pacific  Coast  from  Los 
Angeles  to  Seattle.  En  route  he  filmed 
in  Kodachrome  all  the  scenic  highlights 
which  abound  in  that  area  as  well  as 
many  pictorial  gems  to  be  found  only 
off  the  beaten  highways. 

Halfway   to   Seattle,   an  inspiration 

•  Below — How  Faure  filmed  his 
miniature  sets.  First,  sets  were 
composed  in  his  titler,  using  col- 
ored photos  of  landscapes  surround- 
ed by  leafy  twigs.  An  electric  fan 
supplied  the  breeze  and  photo- 
floods  were  flashed  intermittently 
to  give  the  effect  of  lightning. 
Rain  was  produced  from  a  sprink- 
ling can. 


came  to  him.  Somewhere  along  the  route 
he  had  heard  strains  of  the  William  Tell 
overture — probably  over  the  radio  in  his 
car.  The  melody  persisted  in  his  mind 
and  as  he  recounted  the  scenes  he  had 
shot  and  envisioned  the  pictorial  possi- 
bilities of  the  beautiful  countryside 
through  which  he  was  traveling,  he  saw 
possibihty  of  interpreting  music  of  the 
William  Tell  overture  in  terms  of  pic- 
tures. Not  the  composer's  story,  but 
rather  the  mood-story  the  music  con- 
veyed—  the  solemn  break  of  day;  the 
awakening  countryside;  gathering  storm 
clouds;  the  storm;  abatement  of  the 
storm;  and  the  serenity  following  it. 

Thereafter,  Faure's  filming  became 
purposeful  and  objective.  And  when  his 
trip  had  ended  and  all  of  his  scenes  were 
carefully  inventoried,  it  was  found  the 
most  vital  sequence  had  not  been  shot 
•  Continued  on  Page  402 


HOME  MOVIES  FOR  OCTOBER 


0 


'NE  never  fully  appreciates  the 
value  of  a  windback  on  his  camera  un- 
til he  acquires  and  uses  one.  About  a 
year  ago,  a  reader's  request  for  plans 
for  a  windback  were  published  in  Home 
Movies.  It  set  me  thinking  about  my 
own  camera.  I'd  thought  of  a  windback 
but  figured  it  was  too  complicated  a 
job  to  install  one  myself.  But  as  the 
idea  persisted,  I  tinkered  with  my  cam- 
era and  finally  figured  out  how  I  could 
install  a  windback  in  my  i6mm.  Key- 
stone with  very  httle  trouble  and  with 
no  risk  of  the  mechanism. 

For  less  than  one  dollar,  materials 
were  acquired  for  making  and  install- 
ing the  simple  windback  sketched  in 
detail  in  Fig.  i.  Required  were  a  piece 
of  round  brass  bar,  Yz"  in  diameter  and 
i"  in  length  from  which  the  flanged 
shaft,  shown  at  B,  Fig.  i,  was  turned; 
a  clock  key,  and  a  supply  of  solder. 

The  piece  of  brass  was  turned  on  a 
lathe  to  the  proper  diameter  to  fit  the 
key  which  was  to  attach  to  the  shaft 
after  it  was  mounted  on  the  camera. 
A  flange,  y%"  thick  was  turned  at  one 
end  and  this  was  pierced  with  four 
1/32"  holes,  as  shown  at  C,  to  permit  a 
flow  of  solder  through  the  flange  to  the 
camera  gear  A. 

This  required  removing  the  right  side 
panel  of  the  camera  case.  To  do  this  the 
winding  key,  A-Fig.  2,  the  starting  but- 
ton B,  the  speed  regulator  C  and  the 


VR\LL  OUT 


T 


GEAR 


PROTRUDING 
SHAFT  END 


MECHANISM 
CASE 


SHAFT  FOR 

\NINVING  KEY 


,  HOL  E  IN 
MECHANISM 
CASE 


■STARTING 
LEVER 

FOOTAGE 
INDICATOR 


SPEED  REGULATOR 


CAMERA  MECHANISM 
RIGHT   OUTSIDE  CASE  REMOVED 


o  Fig.  1 — Diagram  of  winctoack  and  method  of  installation. 


Simple  UJindback  for 
16 mm  K^^^tone  Camera 


By  H       .  F  . 

machine  screw  D  were  first  removed. 
The  winding  key  was  dislodged  from 
the  shaft  by  forcing  out  a  small  pin  in 
the  hinge  with  a  nail  setting  punch. 
Removing  machine  screws  released  both 
the  speed  regulator  and  camera  release 
buttons. 

With  the  outside  case  removed  from 
the  camera,  a  brass  gear  A,  Fig.  i,  may 
be  observed  through  a  hole  in  the 
inner  mechanism  case.  This  gear  drives 
the  sprocket  that  moves  the  film 
through  the  camera  and  is  the  gear  to 
which  the  windback  shaft  is  attached 
permitting  winding  back  the  film  for 
dissolves  and  other  cinematic  effects. 

With  the  brass  spindle  machined  and 
ready  for  use,  the  next  step  was  to  tin 
the  exposed  side  of  the  gear  A.  This  was 
accomplished  by  applying  a  thin  coat- 
ing of  solder.  Care  must  be  taken  in 
this  operation  not  to  allow  any  of  the 
solder  to  lodge  in  the  gear  teeth.  With 


•  Fig.  2 — View  of  camera  exterior 
with  position  indicated  for  hole  to  be 
drilled  in  case  for  extension  of  wind- 
back  shaft.  Right  side  of  camera  case 
may  be  opened  by  removing  parts  A, 
B,  C  and  D. 


K       N       0       W       L       E  S 

some  1 6mm.  Keystone  cameras,  the 
shaft  to  which  this  gear  is  attached  pro- 
trudes a  fraction  of  an  inch  on  the  ex- 
posed side.  Where  this  is  the  case,  then 
center  of  the  spindle  flange  B  must  be 
rcutd  out  with  a  drill  to  allow  a  snug 
fit  over  the  protruding  gear  shaft  as 
shown  in  Fig.  \  . 

This  accomplished,  next  step  was  to 
tin  surface  of  spindle  flange.  Then  the 
flange  was  positioned  over  the  gear  A 
and  when  accurately  centered,  heat  was 
applied  to  the  flange  causing  the  tinned 
surfaces  of  both  flange  and  gear  to  fuse 
together.  Additional  anchorage  was  ob- 
tained by  running  melted  solder  down 
through  the  four  small  holes  C  drilled 
in  flange. 

A  hole  corresponding  with  that  at  D 
in  Fig.  I  was  drilled  in  the  outside  cam- 
era case,  previously  removed.  This  al- 
lows the  windback  shaft  to  protrude 
when  the  camera  case  is  replaced.  The 
final  operation  was  attaching  the  clock 
key  to  the  shaft. 

Method  of  operation  is  quite  simple. 
In  executing  lap  dissolves  I  make  fades 
of  five  seconds  duration  with  the  cam- 
era turning  at  normal  speed.  This  in- 
volves 2  feet  of  film.  After  the  initial 
•  Continued  on  Page  40) 


PACE  394 


HOME  MOVIES  FOR  OCTOBER 


THE  eXPERIHEKTU 


Piojector  Stand 


Here  is  a  sturdy  and  handy  projector 
stand,  not  too  hard  to  make,  safe,  and 
easy  to  move  around  if  necessary.  It 
features  a  real  pilot  light  that  throws 
illumination  where  it's  needed. 

The  stand  measures  46  inches  in 
height,  high  enough  to  allow  light  beam 
to  go  over  heads  of  people  sitting  di- 
rectly in  front  of  projector.  Top  of 
stand  measures  12  by  14  inches.  The 
four  corner  posts  are  2  by  2  stock  while 
the  top  and  shelf  are  of  Y4  inch  mate- 
rial. Quarter  inch  plywood  is  nailed  on 
three  sides,  with  the  fourth  side  left 
open  except  for  a  four-inch  wide  piece 
of  plywood  at  the  top.  This  siding 
makes  stand  rock  steady  and  is  much 
better  than  four  cross  pieces  alone. 

The  special  wiring  includes  a  double 
socket  on  under  side  of  cabinet  top,  a 
single  socket  outside  on  top  for  pilot 
light  and  a  single  outlet  plug  on  back 


PASS  'EM  ALONG! 

Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  columns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
jection reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  .your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  ideas  you  may  submit.  Ideas 
not  immediately  published  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
If  submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  16mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


of  the  stand  near  the  bottom.  This  bot- 
tom socket  takes  extension  cord  leading 
to  the  main  wall  outlet  in  the  house, 
and  provides  an  accident-proof  hookup. 
Anyone  tripping  over  the  cord  merely 
pulls  plug  from  socket  and  not  the  pro- 
jector with  it.  Wire  leads  from  this 
bottom  socket  to  double  socket  under 
the  top,  one  side  of  which  leads  to  pilot 
hght.  A  short  cord  plugging  into  the 
projector  leads  through  a  hole  in  back 
of  stand  to  current  supply.  The  remov- 
able pilot  light,  having  a  separate  switch 
in  its  base,  is  an  ordinary  "nite  lite" 
sold  in  dime  stores. 

A  simple  method  of  maintaining  the 
pre-determined  correct  distance  be- 
tween projector  and  screen  is  by  means 
of  a  length  of  cord.  When  ready  to  set 
up  the  screen,  one  end  of  the  cord  is 
placed  under  the  projector  to  hold  it 
and  the  other  held  fully  extended  at 
screen  position. 

— Gforge  Carlson, 
Chicago,  III. 


ATTACH 
MIRROR  HERE 


MIRROR 


F/G.5. 


Filming  Reverse  Action 

The  following  described  gadget  over- 
comes the  troublesome  result  in  making 
reverse  action  shots  (with  camera  up- 
side down)  where  right  is  changed  to 
left,  and  vice  versa.  The  gadget  not  only 
conveniently  holds  the  camera  in  invert- 
ed position,  but  also  provides  a  mirror 
set  at  the  proper  angle  before  the  lens 
to  pick  up  and  reverse  the  image  pho- 
tographed. Instead  of  pointing  camera 
at  thz  object  or  scene,  the  mirror  is  fo- 
cused upon  the  object. 

Construction  requirements  are  a  piece 
of  3 /i6"xi '/4"xi2"  strap  iron,  a  small 
mirror,  a  wing  bolt  and  nut,  blocks  of 
wood  and  a  few  screws  —  materials 
readily  available  around  most  garage 
workshops.  Three  Y/'  holes  are  drilled 
in  the  strap  iron  as  shown  in  Fig.  i.  One 


end  hole  is  tapped  to  take  a  regular  54" 
No.  20  tripod  screw. 

A  and  B  in  Fig.  2  show  construction 
of  trame  that  holds  the  mirror.  The  two 
pieces  of  wood  are  joined  together  with 
screws.  A  hole  drilled  in  member  B  ad- 
mits the  wing  bolt  by  which  the  mirror 
and  frame  is  attached  to  the  iron  sup- 
port (Fig.  i).  The  small  mirror  may 
be  cemented,  as  indicated,  with  rubber 
adhesive  or  taped  at  the  edges  with 
scotch  or  adhesive  tape.  The  unit  is 
then  assembled  with  camera,  as  shown 
in  Fig.  3,  with  mirror  fixed  at  a  45° 
angle  to  the  axis  of  camera  lens. 

All  reverse  action  shots  made 
with  this  gadget  will  appear  with 
"rights"  and  "lefts"  in  normal  position. 
Signs,  newsprint,  etc.,  will  read  right. 
Such  scenes  may  be  spliced  right  into 
regularly  filmed  action  shots  without 
the  usual  reversing  of  the  subject.  Of 
course,  if  this  is  done,  changing  focus 
is  necessary  during  projection.  But  this 
may  be  overcome,  too,  by  having  a  dupe 
made  of  such  shots. 

— ]ack  G.  Strong, 
Los  Angeles,  Calif. 

House  Lights  Control  ■ 

Employing  inexpensive  materials  still 
available  from  electrical  or  dime  store 
counters,  any  amateur  can  make  this 
simple  but  effective  remote  control  for 
switching  on  or  off  room  lights  from 
the  projector  instead  of  leaving  this 
chore  to  some  inexperienced  person  in 
the  home  audience. 

Sketch  shows  wiring  arrangement. 
Materials  needed  are  one  base  plug,  one 
auxiliary  baseboard  outlet,  one  snap 
switch  and  a  length  of  two-strand  rub- 
ber covered  cord,  length  of  which  will 
depend  upon  individual  room  require- 
ments. One  end  of  cord  is  connected  to 
the  posts  of  base  plug.  At  a  suitable  dis- 
tance, the  auxiliary  baseboard  outlet  is 
cut  in,  one  wire  by-passing  the  plug  as 
shown  in  diagram.  Snap  switch  is  con- 
nected at  other  end  of  cord. 

In  operation,  the  plug  is  connected 


BASEBOARD  OUTLET 

FOR  LtlVIP  ^ 


SNAP  5WITCH 


WIRING  DIAGRAM 

BASEBOARD  OUTLET 
PLUG  V    SWITCH 


HOME  MOVIES  FOR  OCTOBER 


PACE  395 


CHE  WORKSHOP 


g.adg.et^y  tricks  & 


with  current  source  and  a  bridge  or  ta- 
ble lamp  plugged  into  the  auxiliary 
baseboard  outlet.  Throwing  switch  to 
"on"  p)osition  completes  electrical  cir- 
cuit to  bridge  or  floor  lamp.  Note  that 
single  wire  connected  to  baseboard  out- 
let is  broken  before  connecting  to  con- 
tacts as  shown  at  X  in  diagram. 

—H.    R.  Schmidt, 
Chicago,  III. 


Lighting  Unit 


Indoor  cinefilming  fans  living  in 
small  apartments  will  appreciate  this 
compact  lighting  unit  that  affords  am- 
ple illumination  for  the  average  indoor 
shot.  It  consists  of  framework  made  of 
wood  to  which  is  attached  four  alumi- 
num reflectors,  "^"ires  lead  to  a  gang 
plug  located  conveniently  near  operator 
and  attached  to  it  is  a  snap  switch  for 
control  of  all  lights.  A  metal  plate 
attached  to  the  center  rib  of  frame  is 
drilled  to  fit  over  tripod  screw  and 
this  enables  mounting  frame  on  tripod 
with  camera. 

Thus,  lights  are  always  focused  on 
scene  or  subject  and  the  usual  trouble- 
some standards  and  cables  of  several 
light  units  are  dispensed  with. 

— John  L.  Dippdch, 
Washington,  D.  C. 


Fading  Gadget 

Most  any  amateur  can  make  this  fad- 
ing device  which  consists  of  a  light 
frame  cut  from  ply-wood  over  which  is 
wound  black  thread  to  form  the  gradu- 
ated density  area  for  diminishing  light 


admitted  to  the  lens. 

Thread  should  be  wound  lightly,  that 
is,  spaced  far  apart,  at  the  beginning 
or  "open"  end  of  frame  and  increased  in 
number  of  turns  and  density  of  spacing 
as  it  nears  the  opposite  end.  After  wind- 
ing is  completed,  a  coating  of  shellac  or 
glue  on  edges  of  frame  will  hold  threads 
securely  in  place. 

To  effect  a  fade,  draw  the  device 
across  lens  at  the  opening  or  close  of  a 
scene  while  camera  is  in  motion,  stop- 
ping camera  as  the  full  opaque  area  is 
reached. 

— ]ack  F.  Curtis, 
Forest  Hills,  jV.  Y. 


Labeling  Films 


A  simple  and  durable  method  for 
labeling  films  is  to  write  or  print  title 
of  film  in  ink  on  the  white  leader  and 
then  apply  a  coating  of  clear  (uncol- 
ored)  nail  polish  to  the  film  over  the 
lettering.  If  ink  has  tendency  to  "crawl" 
on  surface  of  film,  first  moisten  film 
with  damp  cloth,  allowing  it  to  dry 
before  starting  to  write. 

— John  Tuchlinsky, 
Aurora,  III. 


FRONT  VIEW 


Projector  Tripod 


Pictured  is  portable  projector  stand 
easily  constructed  with  a  few  tools 
from  blocks  of  wood  and  a  few  lengths 
of  pipe  or  broom  stick  for  materials. 

Base  "A"  is  cut  from  pine,  15/2" 
larger  all  around  than  base  of  projector. 
Half-inch  quarter-round  moulding  is 
tacked  around  top  edge  as  a  measure  of 
srfety  for  projector.  The  blocks  "C" 
are  made  from  pine  material  2"x2"x4", 
tapered  at  one  end  as  shown.  Holes  are 
drilled  in  tapered  surface  to  take  the 
legs  of  iron  pipe  or  broom  stick  and 
are  finished  for  a  snug  fit.  Length  of 


shortcut ^  contri' 
butedby.  Cinebug.^ 


legs  depend  upon  individual  require- 
ments. 

Unit  may  be  assembled  or  knocked 
down  readily  and  carried  along  with 
projection  equipment. 

— A.  Lackmann, 
Norwood,  Ohio. 

Data  Guide 

\\"hen  not  convenient  to  immediately 
edit  and  splice  together  rolls  of  film  as 
they  are  received  from  the  processor, 
pertinent  data  for  editing  purposes, 
such  as  date,  location,  names,  etc.,  can 
be  scratched  with  pen  knife  or  other 
sharp  pointed  object  on  the  emulsion  of 
the  leader  or  first  few  frames  of  the 
roll  of  film. 

— Paul  Kroll 
irovo,  Utah 

Editing  Case 

Pictured  below  is  a  compact,  amateur- 
made  editing  case  that  not  only  simpli- 
fies transportation  of  one's  editing  equip- 
ment but  the  handy  storage  of  one's 
editing  board — usually  a  clumsy  item 
to  find  room  for  in  closet  or  book  shelf. 
Note  how  editing  board  is  cut  in  two 
at  either  end  and  hinged  so  that  ends 
fold  and  reduce  storing  space  to  less 
than  half. 

The  viewing  lamp  housing  is  swiveled 
by  a  single  bolt  through  the  base.  Thus 
it  may  be  turned  sideways  before  plac- 
ing editing  board  in  carrying  case.  Case 
is  made  of  ordinary  veneer  wood,  with  a 
metal  carrying  handle  mounted  at  top, 
an  inside  catch  on  the  door  and  two 
coats  of  paint  completing  the  finish. 

— K.  C.  Heagey, 
Lancaster,  Penna. 


PAGE  396 


HOME  MOVIES  FOR  OCTOBER 


onte  movie 


Where   to   rent  or  buy   8mm.   and    16mm.  films 


•  O  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films  maintained  by  your  photo  dealer  for  owners  of  8mm.  and 
1 6mm.  projectors.  Rental  rates  are  surprisingly  low  and  new  films  are  added 
at  regular  intervals.  Dealers  listed  below  will  gladly  assist  with  suggestions 
for  one  reel  to  full  evening  programs: 


CAUFORNIA 

HOLLYWOOD 

Bailey  Film  Service 
1651  Coimo  Street 

Bell  &  Howell  Fllmosound  Library 
716  N.  La  Brea  Ave. 

Castle'i  Inc. 
152?  Vine  Street 

Morgan  Camera  Shop 
6242  Suniet  Blvd. 


LONG  BEACH 

Winstead  Bros.,  Inc. 
244  Pine 


LOS  ANSELES 

Films  Incorporated 
1709  W.  8th  Street 


SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 
Photo  &  Sound,  Inc. 
153  Kearny  St. 

Robert  Crawford  Studios 
235   Pine  Street 
Telephone:  YUkon  1234 

SANTA  MONICA 

Stewart    Photo  Company 
1257  Third  Street 


DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St.,  N.  W. 


ILLINOIS 


BERWYN 


Colonial  Camera  Shop 
6906  Windsor  Ave. 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

Films  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 

Irving  Park  Camera  Shop 
4006  Irving  Park  Road 


INDIANA 


INDIANAPOLIS 

W.  Stuart  Bussey 

17  East  St.  Joseph  St. 


IOWA 


K/(ASON  CITY 


KANSAS 


WICHITA 


Jeff'i  Camera  Shop 
139  N.  Broadway 

Lewii  Film  Exchange 
216  Eait  I  St  St. 


MASSACHUSETTS 


BOSTON 


Don  Elder'j  Film  Library 
739  Boyliton  St.,  Dept.  HM. 

Prank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
325  State  Street 

NEW  YORK 

ALBANY 

Albany  Camera  Shop  Rental  Library 
204  Washington  Avenue 

KENMORE 

Nixon  Camera  &  Photo  Supply  Co. 
2811  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
30  Rockefeller  Plaza 

Films,  Incorporated 
330  W.  42nd  St. 

Walter  O.  Gutlohn,  Inc. 
25  Weit  4Sth  St. 

Haber  t  Fink,  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
IS  Weit  47th  St. 

National  Cinema  Service 
69  Dey  Street 


OHIO 


CINCINNATI 


Ralph  V.  Haile  i  Assoc. 
215  Walnut  St. 


Dayton  Film  (8-16)  Ren' 
2227  Hepburn  Ave. 


OREGON 


PORTLAND 


Decker  Bros. 

209  No.  Federal  Ave. 


Films  Incorporated 
314  S.  W.  9th  Avenue 


PENNSYLVANIA 

PHILADELPHIA 

Kuni  Motion  Pictures 
1319  Vine  Street 

TEXAS 

DALLAS 

National  Ideal  Pictures,  Inc. 
2C24  Main  St, 


31  y.ou  want  a 

FILM  to  ^now 

.  .  .  NEWS  OF  TIMELY  SUBJECTS  ( 
FOR  HOME  PROJECTORS 


Here  Comes  the  Circus 

One  of  Castle  Films'  newest  releases 
for  8mm.  and  i6mm.  projectors  is 
"Here  Comes  the  Circus"  filmed  under 
the  "big  top"  by  Castle  Films'  crews 
during  actual  performances.  Action  in- 
cludes taming  of  ferocious  jungle  cats, 
daring  acrobats,  thrilling  leaps  through 
fire,  death-defying  aerialists,  perform- 
ing elephants,  and  beautiful  girls.  Also 
featured  are  the  clowns,  the  sideshows 
and  the  colorful  circus  parade. 

"Here  Comes  the  Circus,"  as  with 
all  Castle  Films,  is  available  in  both 
8mm.  and  i6mm.  titled  versions  and 
1 6mm.  sound  in  a  variety  of  lengths 
from  photographic  and  visual  aids 
dealers. 


Release  of  two  new  animated  fairy- 
tale fun  cartoons  is  also  announced  by 
Castle  Films.  Available  in  color  as  well 
as  black  and  white  in  all  editions,  these 
cartoons  can  be  had  in  8mm.  or  i6mm. 
silent  and  i6mm.  sound. 

"The  Big  Bad  "^"olf"  is  title  of  one 
cartoon  in  which  the  thieving  ^"^olf  is 
outsmarted  by  Bo  Peep  and  Boy  Blue. 
"Sinbad  the  Sailor"  is  title  of  the  sec- 
ond cartoon  depicting  the  adventures  of 
Sinbad  in  an  action-crammed  movie 
version  of  this  famous  old  tale. 

These  films  and  others  are  illustrated 


HOME  MOVIES  FOR  OCTOBER 


PAGE  397 


and  described  in  a  new  two-color  catar 
log  just  off  the  press  and  available  by 
writing  to  Castle  Films,  30  Rockefeller 
Plaza,  New  York  City. 

Guflohn  Films 

Certified  Films,  Inc.,  25  W.  45th  St., 
N.  Y.  City,  through  special  arrange- 
ment with  Walter  O.  Gutlohn,  Inc.,  is 
now  distributing  9  new  cartoons  and  3 
comedies  for  8mm.  and  i6mm.  projec- 
tors. Subjects  are  also  available  in 
1 6mm.  sound.  Titles  of  cartoon  sub- 
jects are:  Circus  Capers,  Fly's  Bride, 
King  of  Bugs,  Gyped  in  Egypt,  Toy- 
town  Tale,  Jailbreakers,  Red  Riding 
Hood.  Titles  of  Laffbuilder  Comedies 
are:  Harvest  Hands  Uneasy  Three,  and 
Flip  Flops. 

New  Catalog 

Schools,  Churches,  Social  clubs  and 
home  movie  enthusiasts  will  be  happy  to 
learn  that  Post  Pictures  Corp.  is  now 
issuing  a  new  catalogue  listing  i6mm. 
sound  films  for  non-theatrical  use.  This 
catalogue  contains  a  large  and  diversi- 
fied selection  of  short  subjects  and  full 
length  features  made  by  outstanding 
producers.  All  the  films  included  have 
been  selected  for  their  wide  appeal,  edu- 
cational or  recreational  value,  and  ex- 
cellent presentation;  for  which  Post 
Pictures  have  obtained  exclusive  distri- 
bution rights. 

War  Films 

Waler  O.  Gutlohn,  Inc.,  N.  Y.  City, 
are  now  distributing  on  a  service  charge 
basis  the  widely  heralded  film  "Target 
for  Tonight"  in  i6mm.  sound.  It  runs 
5  reels  in  length. 


EDITING 
REPAIR  NEEDS 


CRAIG  Sen/or  SPLICER 

Makes  professional  siilices  eas 
ily  —  in  only  four  operations 
and  without  wetting  film.  Ha; 
built-in  cutter  and  di->-  scraper 
Guarantees  permanent  splices 
$10.95  (Jr.  Splicers,  $3.1)5). 

CRAIG  Senior  Rewinds 

For  smooth,  fast,  effortless  re- 
winding. Adapt  all  standard  S 
&  16  mm  reels.   $5.00  each. 

CRAIG  Combinations 

Incorporate  .Splicer  and  Re- 
winds mounte(l  on  board  for  ef- 
flciency  in  editing  repairing. 
Jr.,  $8.95:  Sr..  $21.50. 

WRITE  FOR  FOLDER 

"CRAIlj  PRODUCTS  ARE  NOW 
IN  USE  By  MANy  BRANCHES 
OF  THE  U<.  ARMED  FORCES." 


CRAIG  MOVIE  SUPPLY  CO. 


The  sensational  tripod  head  for  all 
cameras,  still  and  movie,  full-size  or 
miniature.    Operates  entirely  through 
precision  gears  .  .  .  eliminates  the  use 
of  the  awkward,  get-in- 
your-way  handle...  makes 
complete  pans  easily. 

$17.50,  incl.  Excise  Tax 


\ 


i 


PUT  ONE  DIME  OUT 
OF  EVERY  DOLLAR 
IN 

WAR  Bi 


lONDS 


iAMtniCAN  BOLEX  WINDCftS 

For  8mm  and  I6mm  film.  Features 
"Tension  Control"  which  holcjs  the 
film  in  place  regardless  of  the  speed 
of  winding.  No  need  to  sprag  feed  by 
hand  .  .  .  film  cannot  get  away  from 
you  .  .  .  sure-grip  handles.  Self-lubri- 
cating bearings.  $6.00  ea.,  $12.00  pr. 

BOOL  CINE'  FADER  ^ 

Makes  64  interesting  fades  and  dis- 
solves With  the  special  extension 
tube,  fades  can  be  made  with  soft  or  hard  edges.  Also  works 
effectively  as  a  fader  over  the  lens  of  a  projector.  Provision  for 
holding  filters  $18  75,  with  extension  tube  and  cable  release. 

At  Your  Dealer's,  Or  Order  Direct! 

AMERICAN  80LEX  COMPANY,  INC. 

155  East  44th  Street,  New  York,  N.  Y. 


JVestern   Representative :   Frank  A     Emmet    Co.,    2707    H^.    Pico  Street,    Los  Angeles,  Calif, 


8 E C 0 R D .  M E M 0 R A BLE  M 0 Aff ^ 

H^OHJ  16  MM  F\l^ 


I.  DU  PONT  DE  NEMOURS  &  CO.  (inc.) 

Photo  Products  Department 
WILMINGTON,  DELAWARE 


Amateur  movies  can  bring  back  memo- 
rable moments  again  and  again. 

Of  course,  you'll  want  to  make  your 
movies  under  all  kinds  of  speed  and  light 
conditions,  that's  where  du  Pont  Films 
will  help  you.  They're  an  all-purpose  pair 
for  speed,  wide  latitude,  economy  and 
permanence. 

SUPERIOR  PAN  (High  Speed  Reversal). 
A  professional  film  for  your  own  shots— 
indoors  or  out— special  effects,  night  shots 
and  all  subjects  with  poor  lighting.  A  real 
"buy"  at  $6.40  per  hundred  feet  with  proc- 
essing. (Weston— 100  day— 80  maz.) 

REGULAR  PAN  (Standard  Speed  Rever- 
sal). The  all-purpose  economy  film  for  out- 
door use.  Wide  latitude  makes  it  easy  to 
use.  Its  brilliant  gradation  adds  sparkle 
to  your  movies.  $4.80  per  hundred  feet, 
with  processing.  (Weston  12-8.) 


PACE  398 


HOME  MOVIES  FOR  OCTOBER 


ICTOR 


FOR    your  in- 
door movies 
and    stills  select 
VICTOR  Lighting 
units  for  best  results. 
There    are  clamp-on 
nd    stand    units  with 
white  reflectors  which  give 
you  top  efliciency  when  us- 
ing  Photofloods.   There  are 
flash    holders   and  synchro- 
nizers with  provisions  for  ex- 
tension  lamps,  for  effective 
flash   lighting  of  stills.  See 
your   dealer   now,   or  writt 
for  FREE  instructive  folder. 
J.  H.  Smith  &  Sons  Corp. 

1020  Lake  St.        Griffith,  Ind. 


WItat  about  proceAHng.  .  .  . 


A  Buy  at  $1.75  .  .  . 

ESO-F 

You  won't  believe  It  'till  you  see  Itl 
Our  newest  8mm.  monochrome  film, 
rated  Weston  24-16  for  the  low  price  of  $1.75  per 
roll  .  .  .  three  rolls.  Just  $4,901  For  all  double  8mm.  cam- 
eras.* FAST  enough  for  those  late  afternoon  shou.  yet  right 
for  bright  days,  tool  Filters?  Yes.  Price  includes  spool- 
ing, processl.ig  and  return  postage  .  .  .  film  ready  for 
your  projector:  PLUS  ...  our  MONOCOLOR  films.... 

E80-A — Fine-grain,  contrast  seml-orthochromatic  film 
with  anti-halo  base.  Recommended  for  exteriors,  only. 
Weston  8-2.  $1.20  per  spool.  $3.20  per  three  spools. 

ESO-B — Super-orthochromatlc  film,  full  anti-halo  protec- 
tion for  use  on  exteriors  and  Interiors.  Over  twice  as 
fast  as  ESO-A.  Weston  12-4.  $1.25  per  spool.  $3.45  per 
three  spools. 

ESO-C — Sepia  ortho  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supple- 
ment for  your  Kodachrome  movies.  Weston  8-2.  $1.30 
per  spool.  $3  70  per  three  spools. 

ESO-n — Violet  ortho  film,  anti-halo  base.  Excellent  for 
splicing  Into  your  Kodachrome  movies.  Weston  8-2. 
$1.30  per  spool.  $3.65  per  three  spools. 

ESO-E — DuPont  super-speed  panchromatic  film,  for  dark 
exterior  and  interior  photography.  Eight  times  as  "fast" 
as  ESO-B.  Weston  100-60,  $1.90  per  spool.  $5.50  per 
three  spools. 

E80-G — A  scarlet  seml-orthochromatlc  film  with  full 
anti-halo  base.  Recommended  for  exteriors  only.  Pro- 
jects a  pleasing  monocolor  picture  .  .  .  ideal  as  supple- 
ment for  Kodachrome  movies.  Also  for  titling -color  mov- 
ies.  Weston  8-2.  $1.25  per  spool.  $3.33  per  three  spools. 

•  These  emulsions  available  for  single-run  8mm.  Unlvei 
cameras  also.    Write  for  prices. 

Ask  for  your  Fall  catalog  of  short  subject  films,  spooled 
films,  accessories,  and  titling  service. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantee  these  Smm.  films  and  will  replace  any  film 
purchased  t  refund  the  full  purchase  price  if  yeu  are  not 
fully  pleased  with  your  results.  You  MUST  be  satisfied! 

AT  YOU.I  DEALERS  OR  BY  DIRECT  MAIL. 

ESO-S  PICTURES 

"Quality  tmm  Service" 
3945  Cefltral  Street  Kansas  City.  Missouri 


O  Continued  from  Page 

processing.  Essential  equipment  for  the 
home  reversal  laboratory  are  first,  dark- 
room in  which  work  is  to  be  done — al- 
though some  amateurs  do  quite  well  us- 
ing bathroom  or  kitchen;  the  develop- 
ing drum  or  rack;  drying  rack;  and 
trays  for  holding  processing  solutions. 
In  addition,  a  number  of  chemicals,  for- 
mulas, etc.,  are  also  required,  but  we'll 
not  go  into  that  here  inasmuch  as  this 
is  not  intended  as  a  treatise  on  how  to 
reverse  home  movie  film. 

The  developing  drum  or  rack  pro- 
vides for  winding  the  film  upon  it  in  a 
spiral,  each  winding  being  separated  by 
short  pins  set  into  the  drum  or  rack 
ribs.  A  means  of  keeping  the  film  taut 
is  important  as  the  film  stretches  as  it 
becomes  saturated  in  the  developing  so- 
lutions and  shrinks  back  to  normal  po- 
sition as  it  dries  after  completion  of  the 
reversal  process.  The  drying  rack  is 
similar  to  the  open  developing  rack.  The 
film,  after  the  final  developing  and 
washing,  is  transferred  to  it  for  drying. 
Equipment  of  this  type  mav  be  seen  in 
Fig.  2.  Here  the  amateur  has  installed 
elaborate  apparatus  for  rotating  the  de- 
veloping and  drying  racks  by  motor 
power. 

Films  which  may  be  processed  by 
home  reversal  are  panchromatic,  ortho- 
chromatic  and  semi-orthchromatic  — 
the  last  two  being  the  low-cost  films 
previously  referred  to.  Thus  far,  it  is 
not  possible  for  the  amateur  to  process 
color  film. 

For  the  benefit  of  amateurs  who 
may  be  interested  in  processing  their 
films,  the  following  is  a  sketchy  de- 
scription of  the  procedure:  The  film  is 
first  wound  upon  the  developing  drum 
or  reel  in  the  darkroom.  A  darkroom 
safelight  may  be  used  at  a  reasonable 
distance  from  the  film — green  for  pan- 
chromatic films  and  red  for  orthochro- 
matic.  Highspeed  panchromatic  films 
are  sensitive  even  to  the  weak  light  of 
a  green  safelamp,  and  for  this  reason  are 
best  handled  in  total  darkness.  After 
subjecting  the  film  to  a  preliminary 
washing  in  clear  water,  the  next  step 
is  first  development. 

The  developing  solution  is  placed  in 
a  tray  that  forms  a  part  of  the  develop- 
ing apparatus  and  the  drum  or  rack  set 
in  place  in  the  frame  so  it  extends 
about  two  inches  into  the  solution.  The 
drum  is  rotated  slowdy  during  which 
time  all  the  film  passes  through  the  de- 
veloper a  number  of  times.  This  con- 
tinues until  the  film  image  is  distinct 
when  viewed  from  the  shiny  side.  With 
ortho  film,  this  can  be  observed  under 


the  red  safelight.  With  pan  film,  this 
stage  of  development  is  usually  determ- 
ined through  time  and  temperature  de- 
velopment. When  developed  to  the 
proper  density,  the  film  is  removed 
from  the  solution  and  washed  in  clear 
water. 

Thereafter  the  film  is  subjected  to 
bleaching,  flashing  and  redevelopment, 
then  washed  and  transferred  to  the  dry- 
ing rack  to  complete  the  final  stage  of 
processing. 

One  advantage  in  home  processing  of 
cine  films  is  that  the  amateur  is  in  a 
position  to  correct  over-  and  under-ex- 
posure either  by  control  of  the  develop- 
ing process  or  by  reducing  or  intensify- 
ing the  film  with  chemical  solutions  af- 
ter reversal  is  completed  and  the  image 
examined  in  bright  light. 

Actual  reversal  procedure  is  a  com- 
plete study  in  itself  to  which  many 
comprehensive  articles  and  books  have 
been  devoted.  Even  today  home  rever- 
sal "experts"  disagree  among  themselves 
as  to  formulas  and  ingredients,  and 
often  new  and  interesting  results  are 
accomplished  in  zealous  amateur  re- 
search. 

Amateurs  interested  in  extending 
the  scope  of  their  hobby  to  include  film 
processing  are  referred  to  the  several 
articles  on  the  subject,  which  have  ap- 
peared at  intervals  during  the  past  two 
or  three  years  in  Home  Movies,  and 
also  to  the  volume,  "How  to  Reverse 
Movie  Film,"  made  available  by  the 
publishers  of  this  magazine. 

ZJltle 

Composition  .  .  . 

•  Continued  from  Page  }f6 

cate  a  film  is  a  record  of  a  family  vaca- 
tion, this  information  may  be  given  in 
a  foreword  title,  or  facts  concerning 
location,  time  of  year,  etc.,  may  be  in- 
cluded in  small  lettering  in  the  main  ti- 
tles. For  example,  in  following  title  of  a 
vacation  film,  "The  Story  Yosemite 
Tells"  there  also  appeared  in  small  let- 
ters at  the  bottom,  "As  Told  to  the  Mar- 
tin Family,  Summer,  i9}9." 

Whereas  composition  of  a  main  title 
usually  involves  the  selection  and  ar- 
rangement of  but  two  or  three  words, 
the  writing  of  sub  or  descriptive  titles 
calls  for  one  or  more  complete  sentences. 
These  sentences  should  be  informative 
or,  in  the  case  of  a  spoken  title,  should 
express  the  words  pertinent  to  the  im- 
mediate action  spoken  by  one  of  the 
characters. 


HOME  MOVIES  FOR  OCTOBER 


PACE  399 


Some  beginners,  ambitious  to  title 
their  films,  have  labored  under  the  mis- 
aprehension  that  each  scene  in  a  travel 
or  vacation  movie  should  be  preceded 
by  a  title.  Experienced  amateurs  know 
that  one  title,  properly  inserted,  cov- 
ers the  explanation  required  for  a  num- 
ber of  scenes  or  sequences.  Frequently 
we  see  an  amateur's  film  with  a  title 
such  as  "The  cabin  where  we  stayed 
overnight"  followed  by  a  scene  of  a 
cabin;  next  appears  the  title  "The 
pretty  view  from  our  cabin"  followed 
by  a  distant  shot;  then  the  title  "Dad 
goes  fishing  in  the  lake"  and  the  shot 
of  Dad  kn":e  deep  in  the  lake;  and  then 
another,  "Two  whoppers  that  didn't 
get  away"  which  preceded  a  shot  of 
Dad  holding  two  large  trout  before  the 
camera. 

Such  titles  are  merely  captions.  They 
lack  action;  and  a  good  title  must  con- 
vey action  as  well  as  must  the  scene. 
Let  us  analyze  further:  all  the  first  title 
conveys  is  that  the  cabin  housed  the 
party  overnight;  the  next  title  is  un- 
necessary. The  audience  can  best  judge 
whether  or  not  the  view  from  the  cabin 
is  pretty.  The  title  states  the  view  is 
from  the  cabin.  This  title  could  be  elim- 
inated by  having  a  person  come  out  of 
the  cabin  door,  pause,  and  survey  the 
surrounding  vista.  The  scene  that  fol- 
lows this  bit  of  action  will  be  under- 
stood as  the  view  seen  by  the  person 
from  the  cabin. 

The  title  "Dad  goes  fishing"  is  un- 
necessary. The  scene  that  follows  clear- 
ly shows  Dad  fishing;  and  the  last  title 
likewise  is  superfluous  because  the  fol- 
lowing scene  shows  that  the  "whoppers" 
didn't  get  away  from  Dad. 

Retitling  this  vacation  sequence,  we 
could  drop  all  four  of  the  titles  and 
substitute  one  title  to  cover  the  se- 
quence, cut  in  ahead  of  the  first  scene 
of  the  cabin  something  like  this:  "Our 
first  night  is  spent  on  the  shore  of  Lake 
Arrowhead."  Here  one  sentence  tells 
the  complete  story  which  the  four  sep- 
arate titles  attempted  to  tell.  When  the 
cabin  shot  appears  it  will  naturally  be 
understood  that  is  where  the  vacationers 
spent  the  night.  Next,  the  person  comes 
out  of  the  c^ibin  and  views  the  scene 
before  him.  Dad  prepares  to  go  fishing 
in  appropriate  action  which  will  be  un- 
derstood by  any  audience,  and  when  he 
holds  up  those  fine  big  trout  in  the  final 
scene,  we'll  know  he  was  successful  at 
fishing. 

Thus,  four  stops  in  the  film  action 
are  reduced  to  one.  The  audience  knows 
a  little  more  than  it  did  before,  and 
the  whole  sequence  will  be  smoother  as 
a  result. 

In  this  type  of  titling  known  as 
informative  titling,  the  present  tense 
should  be  used  when  the  title  is  describ- 
ing or  referring  to  the  scene.  The  title 


describes  the  scene  but  not  what  actu- 
ally happened  —  the  scene  itself  does 
that.  Furthermore  it  keeps  the  film 
from  sounding  historical.  Suppose  Bob 
learned  to  paddle  a  canoe  while  at  Trout 
Lake.  "Bob  learned  to  paddle  a  canoe 
at  Trout  Lake"  does  not  have  the  same 
effect  as  "While  at  Trout  Lake  Bob 
learns  to  paddle  a  canoe."  The  scene 
that  follows  is  unfolding  right  before 
us — so  naturally  the  title  referring  to  it 
must  be  in  the  present  tense.  The  scene 
shows  Bob  paddling,  but  it  doesn't  tell 
us  his  name,  name  of  the  lake,  nor  the 
fact  that  he  learned  his  paddling  here. 
Thus  the  title  is  necessary  to  give  these 
three  facts. 

Occasionally  it  is  necessary  to  in- 
form the  audience  exactly  what  they 
are  about  to  see,  for  otherwise  it  may 
be  missed  entirely,  or  the  importance  of 
the  scene  lost.  Such  titles  are  known  as 
emphatic  titles  and  are  used  to  direct 
attention  to  some  certain  phase  of  the 
scene  or  bit  of  action. 

Only  the  inexperienced  amateur  will 
apologize  in  a  title.  "Bad  weather  was 
the  cause  of  these  poor  shots,"  is  ex- 
tremely bad  taste.  If  the  scenes  are  so 
poor,  better  to  eliminate  them  entirely. 
Calling  attention  to  the  fact  a  movie 
is  being  shown  is  also  bad  practice. 
"John  poses  for  the  camera"  is  the  type 
of  a  title  that  makes  an  audience  con- 
scious of  the  fact  they  are  seeing  a 
movie,  and  a  good  producer  tries  to 
make  his  audience  forget  they  are 
watching  mere  shadows  on  a  screen, 
rather  than  call  their  attention  to  the 
process. 

Good  English  is  required  in  title  writ- 
ing the  same  as  in  any  other  form  of 
composition.  Quotation  titles,  wherein 
the  exact  words  of  the  actors  are  shown 
on  the  screen,  are  the  only  permitted 
exception.  But  even  in  this  instance  the 
wording  should  be  carefully  planned 
and  compared  with  the  action  it  seeks 
to  explain. 

Humorous  titles  are  an  asset  to  most 
films,  depending,  of  course,  on  the  sub- 
ject of  the  film.  But  humor  must  be 
in  the  film,  for  an  ordinary  film  with 
a  bunch  of  funny  titles  doesn't  seem 
consistant,  and  the  titles  cease  to  be 
funny.  If  the  film  is  funny,  then  the 
titles  can  be  humorous  as  well.  But  if 
the  subject  matter  is  comedy,  let  the 
humor  come  primarily  from  the  scenes 
and  not  the  titles. 

Many  amateurs  have  discovered  their 
titles  already  written  in  poem  books. 
They  have  found  certain  verses  of  fa- 
mous poems  descriptive  of  scenes  and 
action  of  their  films  and  used  poetic 
titles  throughout  to  describe  their  pic- 
tures. Others  have  found  writing  titles 
an  easier  task  when  adopting  the  letter 
idea — writing  a  letter  to  a  friend  or 
relative  and  narrating  the  picture  with 
occasional  closeups  of  paragraphs  of  the 


You,  too,  can  have  the 

Photographic 
Exposure 
Computer 

that  was  designed  for  the 
ARMY  and  NAVY 


$, 


For  Only 


i 


00 


Postpaid 


This  new  exposure  guide  de- 
signed for  photographers  of  the 
U.  S.  Navy,  the  U.  S.  Army  Air 
Corps  and  the  U.  S.  Army  Signal 
Corps  in  any  part  of  the  world 
is  now  available  for  public  use. 
It's  the  perfect  guide  for  ground 
?nd  aerial  photography.  It  is 
printed  from  the  same  plates  as 
the  military  editions,  with  a 
lighter  weight  cover  material. 
It  is  simple,  accurate,  reliable, 
covering  a  wide  range  of  light 
conditions  for  determining  proper 
photographic  exposures.  Pocket 
size  3'/4x5".  Durable  as  well  as 
practical. 

MAIL  ORDERS  FILLED 


 USE  COUPON  

WILLOUGHBYS. 

32nd  St.  near  6th  Ave..  N.  Y. 

Please  send  me  postpaid  the  Photographic 
Exposure  Computer  that  was  designed  for 
the  Army  and  Navy,  for  which  I  enclose 
$1.00. 


Name  , 

Address  . 
City  


State.. 


H.  M. 


no  West  32nd  Street,  N.  Y. 

World's   Largest   Camera  Store 
Built  on  Square  Dealing 

Established  1S9S 


PAGE  400 


HOME  MOVIES  FOR  OCTOBER 


Greatest  Pictures  of 
All  Time! 


THE 


zor  A 


BIRTH 
NATION 


Two  Stupendous  Historical  Sequences  from 
D.  W.  Griffith's  Immortal  Masterpiece — Now 
ready  for  home-projection  audiences. 

The   Assasscnafion    of  Lincoln 

History-in-the-making.  Showing  John  Wilkes 
Booth  stalking  into  the  President's  box  in 
Washington's  Ford  Theatre,  and  cold-bloodedly 
murdering  a  great  American. 

Civil  War  Battle  Scenes 

(The  Little  Colonel's  Last  Charge,  illustrated) 
.  .  .  Proclaimed  the  finest  war  scenes  ever 
filmed  ...  In  as  bloody  and  savage  a  war  as 
the  world  has  ever  setnl 


Order  at  Your 


50 
100 


Ft. 
Ft. 


8mm. 
16mm. 


Dealer's  Today 

..  Only,  $2.50 
Only,  $3.50 


Intercontinental  Marketing  Corp. 
95  Madison  Ave.     New  York  City 


AT  YOUR   FAVORITE   CAMERA  STORE 

PROTECT 

Your  Slides 

with 

New  low-Priced 

SLIDE  FILES 

Holds  100  2"x2"slides  with  numbered  index  on  cover. 
In  Brown, and  Black,  $1.85.  De  Luxe  3-volume  Library 
Series  (illustrated)  holds  300  slides.  Ren.cvable  index. 
Includes  a  carrying  case  with  swivel  hinge  front  cover, 
complete.  S9.00.  De  Luxe  Files,  S2.25  each.  Carrying 
Case  only.  S3. 00  each.         Write  for  descriptit  e  circular. 

WESTERN  MOVIE  SUPPLY  CO.  254  Sutter  St.,  San  Francisco 


SOMETHING  NEW! 

RENTING  LIBRARIES  .  .  . 

New  one  reel  Pictures 
in  16mm.  Sound 


EDUCATIONALS 
COMEDIES     .  . 


MUSICALS 
NOVELTIES 


Best  in  16mm.  SOUND 

Usual  dealer  discounts 

SKIBO  PRODUCTIONS,  Inc. 

130  W.  46th  St.,  New  York,  N.  Y. 


letter.  This  permits  a  freedom  in  (de- 
scription that  often  fails  one  when  at- 
tempting to  compose  a  title  in  a  single 
sentence. 

Writing  titles  calls  for  no  unusual 
literary  talents.  Simple  statements  that 


tell  facts  not  implied  or  pictured  in  the 
film  are  all  that  are  necessary  in  a  sub- 
title. Narrating  events  just  as  you 
would  orally,  were  no  titles  in  the  film, 
provide  the  simplest  basis  for  title  com- 
position. 


Sound  /or  amateuri  . 


•  Continued  from  Pa^e  jXj 

editing  of  the  film  will  be  necessary. 
Once  a  recording  is  made  for  a  particu- 
lar film,  no  alterations  can  be  made  in 
the  film  that  will  shorten  or  lengthen 
the  screening  time  without  also  requir- 
ing a  new  recording  to  be  made  for  it. 

A  great  deal  of  thought  and  care 
should  be  given  the  preparation  of  the 
commentary,  and  an  important  part  of 
this  preparation  should  be  a  detailed 
study  of  commentaries  of  professional 
narrators  of  news-reels,  documentary 
films,  etc.  You  will  note  the  pauses  in 
the  professional's  commentary  which 
breaks  up  the  monotony;  the  music 
swelling  up  during  these  pauses  and  re- 
ceding again  just  before  the  narrator 
continues.  You  will  feel  an  added  thrill 
in  being  able  to  play  similarily  upon  the 
emotions  of  your  audience  with  words 
as  well  as  pictures,  and  this  you  can  do 
with  carefully  chosen  words,  carefully 
timed. 

Each  word  must  "pull  its  own  weight" 
especially  when  phrases  of  commentary 
are  limited  to  four  or  five  seconds.  And 
this  brings  us  to  the  point  in  our  prepar- 
ation of  timing  our  scenes,  converting 
footage  to  screening  time  and  fitting 
words  of  the  commentary'  accordingly. 
This  may  be  done  by  simply  measuring 
the  film — each  individual  scene — and 
making  note  of  the  screening  time  of 
each.  In  the  case  of  i6mm.  film,  the 
screening  time  is  2  Yz  seconds  to  a  foot. 

In  writing  the  commentary,  we 
should  refer  always  to  the  picture  on 
the  screen;  but  where  a  shot  is  very 
short,  the  commentar}'  should  be  gen- 
erally about  the  subject  matter  rather 
than  an  attempt  to  describe  something 
in  the  scene  that  flashes  on  and  off  the 
screen  before  the  narrator's  words  are 
completed.  In  other  words,  if  the  com- 
mentary "misses  the  bus"  by  a  second 
or  two,  it  has  a  jarring  effect  even 
though  one  may  depend  upon  his  ability 
to  speed  up  or  slow  down  the  turn  table 
occasionally  to  keep  the  recording  in 
"sync." 

With  our  commentary  completely 
written,  it  next  should  be  tried  out  by 
reading  it  while  the  film  is  being  pro- 
jected. For  this  operation,  I  usually  pro- 
ject the  picture  close  to  me  into  the 
open  lid  of  my  projector  case  which  is 
fitted  with  a  piece  of  white  blotting 
paper  for  a  screen.  In  this  way,  the  pic- 


ture is  small  enough  to  show  up  bril- 
liantly inside  the  box  lid  in  a  room  dim- 
ly lighted,  permitting  me  easily  to  write 
notes.  No  commentary  should  be  spok- 
en during  the  projection  of  any  titles 
nor  should  the  musical  background  or 
sound  effects  be  too  diverting,  other- 
wise the  audience's  attention  will  be  dis- 
tracted. 

The  next  step  is  to  select  recordings 
for  the  musical  background.  Your  mu- 
sic dealer  will  be  glad  to  assist  you  in 
the  selection  if  your  project  is  made 
known  to  him.  The  records  should  be 
played  over  several  times  alone  with 
projection  of  the  film — i.  e.,  without 
the  commentary  being  spoken.  Dual 
turntables  should  be  used  where  possible, 
permitting  a  fading  in  or  out  of  one 
record  with  the  other.  Number  the  rec- 
ords I,  2,  },  etc.,  affixing  labels  to  them. 
The  fader  switches  on  the  turntable 
panel  w^ill  enable  fading  from  record  to 
record,  or  to  tone  down  volume  of  the 
music  when  commentary  begins,  and 
vice  versa.  After  the  music  is  properly 
timed  and  the  fading  po.nts  marked  on 
the  records,  they  should  be  played  again, 
accompanied  with  the  spoken  com- 
mentary. 

At  this  point  we  decide  whether  or 
not  to  project  our  pictures  this  way — 
playing  recordings  and  speaking  the 
commentary  with  or  without  aid  of  a 
microphone,  or  to  make  a  master  record- 
ing which  will  combine  our  narrator's 
voice  and  the  musical  background. 
Where  recording  service  is  available,  the 
most  logical  step,  of  course,  is  to  make 
the  recording.  Thereafter,  it  may  be 
played  time  and  again  with  the  film, 
with  none  of  the  annoyances  of  oper- 
ating the  turntable  faders  or  reading  a 
prepared  commentary'  under  unsatisfac- 
tory light. 

Only  one  bugaboo  may  arise,  and  that 
is  the  problem  of  synchronizing  projec- 
tor and  turntables  and  keeping  them  in 
"sync"  during  projection  of  the  film. 
This  may  be  overcome  by  employing  a 
stroboscope  disc,  as  explained  in  my  ar- 
ticle last  month  on  page  356.  The  strobo 
disc  is  placed  over  the  recording  on 
the  turntable  and  illuminated  by  the 
spill  light  coming  from  the  projector 
film  gate.  This  method  insures  keeping 
both  projector  and  turntables  in  abso- 
lute synchronization,  whereas  the  use  of 


I  ORDER  FOR  SUBSCRIPTION 

lome  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,  $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Years  for  $4.00  in  the  U.  S. 

ME  MOVIES 
>0  Sunset  Blvd. 
lywood,  Calif. 

I  Send  to  

I 

Address  

City  State  

New  □  Renewal  □  Gift 

Send  to   


Address 


NO  SUBSCRIPTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


HOME  MOVIES  FOR  OCTOBER 


PAGE  401 


an  ordinary  stroboscope  disc  and  neon 
glow  lamp  insures  constant  speed  only 
for  the  turntable. 

The  uninitiated  amateur  may  ask:  "Is 
all  this  trouble  worth  while?"  The  an- 
swer is  definitely,  "Yes!"  Provided  are 
sound  movies  at  a  price  within  the 
means  of  any  amateur.  By  simply  plac- 
ing a  loud  speaker  or  radio  behind  the 
screen,  the  sound  comes  from  the  direc- 
tion of  the  screen,  in  logical  maimer. 
This  is  infinitely  better  than  standing 
by  the  projector  and  talking  while  pro- 
jecting the  picture,  when  the  voice  has 
to  compete  with  the  projector  noise. 
Also,  the  extempore  method  of  com- 
mentary is  extremely  difficult  even  for 
the  trained  commentator.  When  a  se- 
quence starts,  it  may  be  five,  eight,  ten, 
or  twenty  seconds  long.  One  cannot 
possibly  remember  the  time  each  se- 
quence runs;  and  when  we  attempt  this 
method  and  start  our  sentence,  chances 
are  we'll  be  left  in  the  middle  of  it  after 
the  sequence  has  ended  on  the  screen. 
A  divided  attention  results  leaving  the 
audience  confused. 

Putting  it  all  on  one  or  two  records 
makes  it  really  professional. 

cAntateur  ^ilm^ 

•  Continued  from  Page  5X2 

are  served  and  one  man  refuses  hard 
liquor.  The  waiter  returns  with  a  bot- 
tle of  coke  and  two  straws  for  the  tee- 
totler,  evoking  much  kidding  from  his 
associates. 

Later,  when  the  winner,  a  bald-head- 
ed man,  returns  home  and  is  preparing 
for  bed,  he  pauses  to  annoint  his  pate 
with  hair  restorer!  And,  when  he  steals 
into  his  bedroom,  trying  carefully  to 
make  no  noise,  he  stubs  a  toe  on  the 
chamber  parked  beneath  the  bed! 

Obviously  there  was  little  to  criticize 
in  this  picture.  It  was  well  conceived, 
photographed,  directed  and  edited.  It's 
outstanding  features  are  the  comedy  sit- 
uations which  highlight  the  picture  at 
frequent  intervals  and  which  offer  op- 
portunity to  point  out  the  value  of 
clever  touches  in  any  light  continuity 
to  improve  its  entertainment  value. 

Rails  Across  the  Country,"  filmed 
by  C.  H.  Benjamin  of  Brooklyn,  N.  Y., 
runs  400  feet  in  length  in  black  and 
white.  It  is  a  picture  record  of  rail- 
roads. Unfortunately  it  lacks  contin- 
uity and  descriptive  titles  which  would 
do  much  to  tie  scenes  together  and 
make  them  more  interesting. 

Briefly,  the  reel  begins  with  a  shot  of 
an  oncoming  train  over  which  the  main 
title  is  superimposed.  Thereafter,  shots 
of  locomotives,  trains  of  moving  cars, 


A 


package  of  film  has  always  gone  farther 
since  I  owned  my  Master"  states  th.s  profes- 
sional. "Until  recently,  however,  I  thought  m zinly 
of  correct  exposures  and  little  of  film  concer  'a 
tion.  But  to-day,  a  photographer  needs  the  film- 
saving  advantage  of  the  Mas':cr.  Ls  extreme 
accuracy,  and  the  Wegton  ExpcsurD  dial  that 
enables  you  to  get  exactly  v.hat  ycu  v/ant  on 
each  negative,  saves  plenty  of  film  and  gives  it 
double-value  in  these  less-plentiful  days." 
Weston  Electrical  Instrument  Corporation,  585 
Frelinghuysen  Avenue,  Newark,  New  Jersey. 


WESTOIM  &J?osureMeft 


Except  for  lie  small  supply  iioir  avail- 
able at  dealers,  there  uill  be  no  more 
v/eston  Exposure  Meters  joy  tie  dura- 
tion.  X^ESTON  instruments  a:;  -.itjlly 
r.eedeJ  jjr  the  more  i:-:por.a::t  job. 
Ju:  s.'.ortages  r.:ed  n^t  trj..ile  ',0: lunate 
'.'.''eston  o::n.'rs.  For  :.it.j  reasonable 
care  your  Exposure  Meter  will  gi-.  e  you 
tie  :a--  ::  "yean  oj  dependability"  which 
has  L:pt  Weston  Instruments  the  un- 
ihallen  ed  leaders  throughout  science 
and  industry  jor  over  ha'j  a  century. 


REEL  FELLOWS! 

Mark  your  home  movie  films  with  the  badge  of  prestige — the  new  animated 
Reel  Fellows  leader  now  ready  for  distribution  to  members  of  the  Reel 
Fellows  organization  of  movie  amateurs.  When  ordering  be  sure  to  indicate 
8mm.  or  16mm.  size.  We  ship  postpaid. 


8MM.  16MM. 


THE  REEL  FELLOWS— 6060  Sunset  Blvd.,  Hollywood,  Calif. 


PACE  402 


HOME  MOVIES  FOR  OCTOBER 


8mm.   QUALITY  BULK  FILM  16mm. 

SUPER  CINEPAN  REVERSAL— Unsooied. 
Speefi  2-)-l('i — Lavender  Non-Halation  Base. 

Dbl.    8—33   ft.   $1.30;   100   ft.    $3.60:   400  ft. 

$12.05;  Sgl.  8—33  ft.  80c;  100  ft.  $2.00;  400 

ft.  $7.20;  16mm.— 100  ft.  $3.50;  400  ft.  $12.60. 
SUPER  CINEPAN  PLUS  REVERSAL— Unscored. 
Speed  (i4-40 — I^avender  Non-Halation  Base. 

Dbl.    8—33    ft.    $1.50;    100    ft.    $4.00;    400  ft. 

$14.40;  Sgl.  8—33  ft.  $1.00;  100  ft.  $2.25;  400 

rt.  $8.10;  16mm.— 100  ft.  $3.85;  400  ft.  $13.85. 
CINECHROME  SEMI-ORTHO  REVERSAL 
Speed  8-2.  l.'nscured  Lavender  Nnn-Halatlon  Base. 

1)1)1.  8—33  ft.  80c;  100  ft.  $1.85;  400  ft.  $6.50; 

Sul.   S— 33  ft.  55c;  lUO  ft.  $1.20;  400  ft.  $4.25; 

16nirn.— 100  ft.  $1.60;  400  ft.  $6.00. 
CINE-KODAK  POSITIVE  TITLE  FILM— Unscored. 
Speed  0  in.  Pliotoflood  Light.  Lahuralory  Packed. 

Dili.  8—33  ft.  05c;  100  ft.  $1.45;  400  ft.  $5.00; 

Sgl.  8—33  ft.  45t;  100  ft.  $1.00;  400  ft.  $3.50; 

16mm.  100  ft.  $1.10;  400  ft.  $4.40. 
Clear,  Piirpleliare.  Yellow,  Red,  Amber,  Special  Blue 
— Also  DiiPont  Lavender,  Light  Amber,  8mm  Pink 
CAMERA  SPOOLS  WITH  CANS— Each 

Keystone   Dble.   8....$  .40    Unlvej!    Sgle.    8  15 

Eastman    Dbl.    8  50    Keystone  Sgle.  8  $  .40 

Dbl.  8mm.  Not  E.  K.  Make.  Fits  all  cameras  40 

EXTRA  CANS,  Double  8  and  Single  8  size   .05 

100  ft.  and  50  ft.  16mm.  size  10 

Complete  Reversal  and  Title  Instructions  Free  with 
Film  Orders.  Separately  50c.  Casli,  Check  or  M.  O. 
fur  quick  service.  Deposit  $1.00  required  with  C.O.D. 
orders.  Special  Delivery  25c;  Air  Mail  $1.00  Extra. 
Overpayments  refunded  or  credited.  No  stamps,  please. 

MISCELLANEOUS 
liAIA  I'recision  All-Metal  8mm.  Film  Slltter....$2.T5 
FOTOPADE  DYE  fur  making  Chemical  Fades..  1.25 

FOTOFADE  WIPE-OFF  TAPE,  per  roll  60 

CIiNETINTS,  Set  6  Colors  with  Instructions   3.25 

DuPONT  VISCOSE  SPONGES,  each   .. .  .35 

IIO.ME  MOVIES.  Back  Issues.  1937-38  15 

Not  all  montlis  in  any  year.  l'J40-41-42  .30 
TITLE  DEVELOPER,  tubes,  each  make  16  oz...  .15 

Our  lists,  liandy  lens  tissue   10 

KODACHROME    TRAVEL    FILMS— 8-16mm 
TRAVEL  FILMS— 8-16mm. 

Deposit  $1  required  for  C.O.D.'s    Phone  Lincoln  1207 

W.    STUART   BUSSEY   FILM  LAB. 

17  E.  ST.  JOSEPH  ST.        INDIANAPOLIS,  IND. 


CABLE  RELEASE 

ADAPTOR  for 

Remote  Control 


Eliminates  jarring;  simplifies  single  frame  exposures; 
easily  attached  and  detached;  no  interference  with 
loading,  winding  or  tripod  mounting. 

MODELS:  Revere:  Filmo  Companion,  Sportster. 
PRICE:  $1.00   (plus  tax   in  Calif.);  does  not  in- 
clude cable. 

Garmur  Products       ^"^l  m^^""""*?" 

"    — -  -  5(j,  Los  Angeles  .Calif. 
Also:  MATUS  CAMERA  SUPPLY  COMPANY 

5208  Wilshire  Boulevard  Los  Angeles,  Calif. 


RECORDS 

MOOD  MUSIC 

and 

SOUND  BACKGROUNDS 

The  last  word  in  sound  effects 
Send  for  free  catalogue 

Thomas  J.  Valentino,  Inc. 

Dept.  HM 

1600  Broadway  New  York,  N.  Y. 


Make   Titles   in    Red.   Blue.   Yellow.   Green,  Black, 
White  on  Ph'^tographic  Scenic  Backgrounds. 

••A  to  Z"  Color  Title  Outfit   $6.50 

ISlack  &  White  outfit    $3.00  FiKurettes....$ 1 .00 

Write  fir  your   FREE  Test  Kit  today. 
All  outfits  at  ynur  dealer  rr  order  direct. 
A-to-Z  MOVIE  ACCESSORIES 
175  Fifth  Ave.  Dept.  H  42  New  York  City 


etc.,  are  shown  intercut  with  some 
pleasing  scenic  and  cloud  shots.  The 
purpose  of  these  latter  arc  not  clear, 
and  the  very  few  sub-titles  add  little  in 
clarifying  the  scenes  in  which  they  are 
intercut. 

Also,  many  shots  are  far  too  lengthy. 
Photography  is  for  the  most  part 
marked  by  considerable  under-exposure, 
evidently  due  to  improper  handling  of 
exposure  meter.  Most  scenes  were  filmed 
under  cloudy  conditions  and  this,  to- 
gether with  underexposure,  made  much 
of  the  footage  too  obscure. 

That  this  filmer  made  a  commendable 
effort  to  produce  an  interesting  docu- 
mentary of  an  important  phase  of 
American  life  is  a  foregone  conclusion. 
Had  he  exercised  more  care  on  exposure, 
given  thought  to  more  definite  contin- 
uity and  then  explained  his  picture  with 
terse  but  descriptive  titles,  his  effort 
could  easily  become  one  of  the  year's 
outstanding  films.  Nevertheless,  it  is 
rated  a  2-Star  picture. 

Absent  Minded"  requires  but  loo 
feet  of  black  and  white  8mm.  film  to 
picture  the  experiences  of  a  man  who 
gets  the  home  movie  "bug"  and  what 
happens  afterward.  It  was  filmed  by 
Frank  A.  Rail  of  St.  Louis,  Mo.,  and 
awarded  a  2 -Star  merit  leader  by  the 
editors. 

The  picture  opens  showing  an  aver- 
age family  man  strolling  leisurely  along 
an  average  city  street.  He  picks  up  a 
discarded  copy  of  a  movie  hobby  maga- 
zine, becomes  interested  in  its  contents. 


Returning  home  he  decides  to  buy  a 
movie  camera.  When  he  shows  the  com- 
plete cine  outfit  to  his  family,  the  kid- 
dies are  overjoyed  but  his  wife  coldly 
remarks:  "I'd  rather  you'd  spent  the 
money  to  recap  our  tires!" 

Our  embryo  movie  maker  begins  by 
shooting  movies  of  his  children,  the 
yard  and  flowers,  then  goes  to  a  nearby 
park  where  he  sets  up  camera  on  tripod 
and  continues  filming.  Already  hep  to 
composition  tricks,  he  employs  a  small 
tree  branch  before  his  lens  to  supply 
framing  for  a  scene.  Later,  a  girl  walks 
before  his  camera,  much  to  his  conster- 
nation, and  when  he  remonstrates  with 
the  lady  she  obstinately  refuses  to  budge 
from  the  scene  and  shouts  for  aid  to  a 
nearby  policeman.  At  this  point  the 
movie  maker,  picks  up  his  equipment 
and  disappears  from  the  park. 

Returning  home,  the  filmer's  family 
gathers  about  to  watch  him  unload  his 
camera.  His  wife,  first  to  observe  he 
forgot  to  load  camera  with  film,  ex- 
claims: "You  forgot  to  put  film  in  the 
camera,  absent-minded!"  Kids  and 
mother  thus  have  a  laugh  at  Dad's  ex- 
pense in  the  closing  scene  of  the  picture. 

A  simple  continuity,  it  nevertheless 
provided  opportunity  to  make  movies 
of  the  entire  family  in  other  but 
straight  "snapshot"  scenes  and  is  com- 
mendable as  an  example  of  the  type  of 
planned  filming  which  every  beginning 
amateur  should  follow. 

Photography  was  consistently  good  as 
was  editing  and  titling. 


Skoot  ^ent  in  miniature 


•  Continued  from  Page  392 

— that  of  the  storm.  Not  even  a  squall 
was  encountered  during  the  whole  trip, 
although  storms  frequently  had  threat- 
ened and  these  furnished  Faure  with 
n:any  of  the  spectacular  shots  of  gath- 
ering storm  clouds  which  highlight  his 
picture.  He  had  shots  that  indicated 
a  coming  storm,  but  he  was  stopped  at 
this  point — until  he  thought  of  shoot- 
ing them  in  miniature. 

Setting  up  his  titler  on  a  table  out  of 
doors,  Faure  placed  a  photograph  of  a 
mountain  scene  in  color  in  the  card 
holder  of  his  titler.  Next  he  placed 
about  it,  leafy  twigs  taken  from  trees 
in  his  backyard.  These  were  arranged  at 
either  side,  sometimes  at  the  top,  so  they 
appeared  to  the  camera  as  branches  of 
trees  framing  the  scene.  Before  starting 
the  camera,  an  electric  fan  was  set  up 
outside  of  camera  range  and  trained 
upon  the  miniature  setting.  To  produce 
the  effect  of  lightning,  Faure  used  an 
ordinary  reflector  fitted  with  a  No. 
I  photoflood.  This  was  held  at  one  side 
of  the  title  holder  and  back  toward  the 


camera.  This  equipment  combined  to 
produce  the  effect  in  the  scene  of  strong 
wind  and  lightning.  Breeze  from  the 
fan  rustled  leaves  of  the  twigs  and 
lightning  was  simulated  by  periodic 
flashing  of  the  photoflood  lamp. 

Several  such  scenes  were  assembled 
in  like  manner  and  photographed,  each 
time  a  different  photograph  was  used 
in  the  titler  and  a  different  arrange- 
ment of  twigs  placed  about  the  frame. 
Some  of  the  shots  called  for  rain  and 
this  was  produced  by  holding  a  sprin- 
kling can  above  the  setting,  allowing 
the  spray  to  fall  into  the  scene  as  the 
camera  recorded  it.  This  additional  ef- 
fect, of  course,  called  for  the  assist- 
ance of  a  second  person. 

On  the  screen  these  shots  are  diflScult 
to  detect  from  the  original  full  scale 
scenes  with  which  they  are  intercut. 
The  flashing  of  lightning  is  natural  as 
also  is  the  falling  rain.  Sprinkling  can, 
shrubbery,  a  few  photographs  and  that 
extra  something  possessed  by  born  cine- 
matographers,  combined  to  produce  a 


HOME  MOVIES  FOR  OCTOBER 


PACE  403 


masterful  bit  of  color  photography. 

Give  a  man  in  an  artistic  pursuit  a 
movie  camera  and  invariably  he  turns 
out  pictures  above  the  average  in  com- 
position and  quality.  Faure  is  a  display 
artist  by  profession.  Others  of  his  guild 
consistently  turn  in  excellent  films — 
Herman  Bartel  of  New  York  City,  Ray 
Rieschel  of  Minneapolis,  and  Albert  J. 
Ohlson  also  of  New  York,  to  name  a 
few. 

This  account,  of  course,  should  in- 
clude a  review  of  Faure's  film  which 
bears  a  "sleeper"  title  —  "California- 
Oregon  Coastline."  Frankly,  it  deserves 
a  more  impressive  title,  one  more  in 
keeping  with  its  artistic  content.  As  the 
strains  of  the  William  Tell  overture  be- 
gin, the  first  scene  fades  in  on  the 
screen — a  fine  sunrise  shot.  Other  pic- 
torial scenes  follow,  in  keeping  with 
the  music  to  suggest  the  beginning  of 
day  —  beautiful  landscapes,  seascapes, 
and  peaceful  pastorals  in  which  lambs 
frolic  about. 

As  the  strains  of  William  Tell  swell, 
foreboding  clouds  are  seen  folding  over 
the  peaks  of  distant  hills.  Assembling 
fast,  the  sky  is  near  overcast,  and  the 
branches  of  trees  framing  a  shot  quiver 
in  tempo  with  the  now  vibrant  music. 
The  miniature  shots  of  scenes  now  cut 
with  lightning,  the  falling  rain,  etc.,- 
follow,  and  this  climactic  sequence  is 
made  the  more  dramatic  by  the  musical 
score  of  phonograph  records. 

As  the  overture  slackens  in  pace, 
scenes  indicate  abatement  of  the  storm. 
Somber  clouded  scenes,  almost  devoid  of 


color,  are  followed  by  scenes  of  clearing 
weather — true  post-storm  clouds,  soft 
and  amber  in  tone,  moving  across  the 
heavens  to  reveal  the  blue  of  the  sky. 

Pastoral  scenes  in  quiet  beauty  fol- 
low suggesting  aftermath  of  the  storm. 
We  see  sheep  and  cattle  grazing  again, 
beautiful  landscapes  dotted  with  wild- 
flowers  nodding  in  the  sun,  flicking 
lingering  raindrops  from  their  leaves. 

The  last  sequence,  accompaning  the 
finale  of  William  Tell,  continues  from 
the  motif  of  sky  and  clouds  to  that  of 
forests  with  some  excellent  trucking 
shots  again  calling  attention  to  Faure's 
good  camera  technique. 

Here,  again,  is  another  amateur  film 
that  attests  to  the  extraordinary  film- 
ing possibilities  latent  in  many  musical 
compositions.  Herman  Bartel's  "Singing 
Shadows,"  an  outstanding  film  in  last 
year's  Home  Movies  contest,  is  another 
fine  example  of  this  type  of  production. 
Many  musical  selections,  popular  mel- 
odies as  well  as  operatic  airs,  suggest 
continuities  that  easly  may  be  filmed 
by  the  amateur  possessing  imagination 
and  ability. 

Faure's  ability  as  a  cinematographer 
recently  came  to  the  attention  of  the 
government  through  the  scenic  produc- 
tion just  described.  After  reviewing  it, 
U.  S.  Air  Corps  officials  accepted  Faure's 
enlistment  as  a  specialist  and  a  six 
weeks  training  course  in  professional 
cinematography  under  tutelage  of  some 
of  HoUywoods  ace  cameraists  resulted. 
At  the  moment  he  awaits  Uncle  Sam's 
command  to  active  duty  on  the  motion 
picture  staff  of  the  Air  Corps  reserve. 


M^vie  o/  tke  yiiontfi 


•  Continued  from  Page  3  Sj 

an  fashion  a  statuette  of  a  bear  from  a 
lump  of  clay  wrapped  around  a  tight 
wad  of  newspaper  which  provided  sup- 
port and  reinforcement  for  her  model. 

The  final  sequence  embraced  the  fin- 
ishing off  processes — firing,  glazing  and 
re-firing. 

In  a  huge  kiln,  all  of  the  pottery  ob- 
jects we  saw  modeled,  moulded  and 
turned  on  the  potter's  wheel  are  placed 
within  the  huge  kiln  and  there  sub- 
jected to  intense  heat.  After  a  grad- 
ual cooling  process,  the  kiln  is  opened 
and  the  pottery,  now  almost  pure  white 
in  color,  is  removed  and  made  ready 
for  the  next  step  —  application  of  color 
glaze. 

This  is  applied  by  a  hand  operated 
spray  gun,  with  the  article  of  pottery 
placed  upon  a  pedestal  within  a  spray- 
box.  Tlie  glaze  thus  applied,  all  of  the 
objects  are  again  placed  within  the  kiln 
and  subjected  to  a  second  firing.  This 
produces  the  almost  indestructible  glaze 
with  which  we  are  all  familiar.  A  mont- 
age of  closeups  of  the  various  colorful 


articles  of  pottery  concludes  the  picture. 

Save  for  two  or  three  shots  which 
were  on  the  "fuzzy"  side,  probably  due 
to  the  softer  focus  of  the  wide  aperture 
limited  lighting  made  necessary.  Saint's 
camera  work  can  be  rated  among  the 
best.  Continuity  is  excellent  and  here 
again  smooth  flow  of  the  picture  must 
be  credited  to  the  well  executed  trans- 
itions which,  combined  with  good  edit- 
ing, resulted  in  a  picture  that  is  destined 
to  gain  wider  fame. 

Most  of  the  scenes,  according  to 
Saint,  were  shot  in  a  workshop  less  than 
12  feet  square.  Such  an  area  certainly 
presented  many  problems  in  lighting  as 
well  as  camera  set-up.  The  fact  Saint 
was  able  to  vary  his  camera  angles  as 
frequently  as  he  did  is  a  distinct  credit 
to  his  resourcefulness. 

In  addition  to  the  Victor  "special" 
camera,  equipment  used  in  this  produc- 
tion were  tripod,  Weston  Master  ex- 
posure meter  and  Victor  lighting  equip- 
ment. 


SHOW  YOUR  PICTURES 
at^theii  Best ...  on  the 
same  quality 
RADIANT 
SCREENS  .  . 


U.  S.  Navy 
if  U.  S.  Army 
if  Army  Air  Corps 
if  U.  S.  Marines 

and  many  oHier 
Government  Agencies 


For  Wiir  Training 
For  Recreation 
For  Production 

Training 
For  Civilian 

Defense 


The  choice  of  Radiant  Screens  by  such 
critical  judges  of  quality  tells  the  story 
of  Radiant  superiority  .  .  .  the  many 
exclusive  advantages  of  the  RADIANT 
AUTOMATIC  models  .  .  the  brilliance 
and  clarity  of  pictures  shown  on  Radi- 
ant's "Hy-Flect"  glass-beaded  screen 
surface  .  .  .  the  way  Radiant  Screens 
"stand  up".  You,  too,  may  enjoy  these 
same  advantages.  Ask  your  dealer  for 
a  Radiant  Screen. 

Illustrated  Folder  and  Screen  Fabric 
Sample  FREE— Write  for  it! 

See  War  and  Victory  on 
a  Radiant  Screen 


Radiant  Manufacturing  Corp. 
1 1  40  W.  Superior  St.  Chicago,  III. 


PACE  404 


HOME  MOVIES  FOR  OCTOBER 


FOR    ALL    MOVIE    FILTER  NEEDS! 

*  Harrison  CINE  KIT 


4  FILTERS  and  DUAL-SNAP  SHADE  TO  MEET 
ALL  MOVIE  FILTER  NEEDS— both  Kodachrome 
and  Black  and  White. 

The  now  Harris-n  CINEKIT  contains  a  special  Aero 
Lock  Rint!.  a  Dual-Snap  Aluminum  Sunshade,  and  the 
follcming  de  luxe  Duraline  Filters:  YL-6.  GY-4. 
RD-4.  and  GR-4.  Case  is  of  durable  5-oz.  Elkhide. 
felt  lined.  $6.95  and  up. 


(If  desired,  Kodachrome  users 
ray  substitute  a  C-4  and 
HAZE  filter  for  any  two  of 

(he  above. 


Write  f-r  Fr-- 
Illustrated  Folder 
Today 


HARRISON   &  HARRISON 


OPTICAL  ENGINEERS 


8351  Santa  Monica  Blvd. 


Hollywood.  Calif. 


FOR  DEFENSE 


The  Dramatic 
Story  of  Ameri- 
ca's CIVILIAN 
FIRE  FIGHTERS! 
I  Reel  Sound. 
Rental  $1.50  — 
Sale  $25. 

Approicd  by  the  C.D.V.O.-N.  Y. 
and  Fire  Dept.  of  City  of  N.  Y. 


BRANDON  FILMS  N?°  '"'-^^ 


>lew  York  City 


NO^"!!!  Spend  less  to  oun  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 


ONYX 
24 


ONYX 

Hi-Speed 


100  f^.  16  $2.25    $4.25  $4.75 

25  ft.  8/8         1.00      1.50  1.65 

30  ft.   Univex.     .65         .95  1.10 

RATINGS  —  8-24-50  for  Daylight 
Rtv.rsal  Processing  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 

details  of  NEW  %vim.  RENTAL  LIBRARY. 

KENWOOD  FILMS 

818   E.  47th  St.  CHICAGO.  ILL. 


8 ENLARGED    f  f\ 
TO  lb 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

^ipecLai  Motion  Picture  Printing 
995-A  MEItCHANDISE  MART 
CHICAGO 


•  LIBRARY 

^      LARGEST  SELECTIONl        LOWEST  RATES! 

Anywhere  in  U.  S.  A.    Film  catalog  FREE! 


y    8mm.    16mm.    S.  O.  F. 


State  make,  model  of  projector  I 


I 

E  MOGULLS   ^N^ew*"'  ^' 


York.    N.  Y. 


PROTECT  FILMS 


VAP,O.RATE 

ASK  TOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO..  INC."  BELL  h  HOWELL  CO 
IM  W.  Mtti  St.  lUI  Larehmont  Chlcaft 
Ne»  York,  N.Y.  7I«  No.  L»br»«.  Hollywood 


AGAINST 

climate; 

SCRATCH- 
ES. STAINS. 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV-' 
ERNMENT 
AND  THE 
HOLLY- 
WOOD  PRO- 
DUCERSDO 


One  da^  filming,  project  .  .  . 


•  Continued  from  Page  390 

made  while  camera  is  set  up  in  this  po- 
sition is  the  effects  to  be  gained  by 
use  of  filters.  Obviously  it  will  first  be 
necessary  to  have  an  assortment  of  fil- 
ters on  hand  for  the  purpose.  If  a  set 
of  filters  are  not  already  a  part  of  your 
movie  kit,  they  can  be  borrowed  for  the 
test  from  most  any  photo  dealer  if  he 
feels  a  sale  may  ultimately  result. 

Only  the  most  commonly  used  color 
filters  should  be  employed  in  the  test — 
the  yellow,  orange,  and  red.  Where  pos- 
sible, of  course,  a  diffusion  disc  and  a 
polaroid  filter  should  also  be  tested.  The 
factor  of  each  filter  should  be  determ- 
ined either  from  the  dealer,  manufac- 
turer's instructions,  or  from  the  filter 
factor  charts  which  appear  on  page 
245  of  the  June  (1942)  issue  of  Home 
Movies.  This  will  indicate  the  amount 
of  additional  exposure — the  number  of 
stops  the  lens  must  be  opened  above 
normal — in  order  to  obtain  satisfactory 
photographic  results.  For  example,  a  K-i 
(yellow)  filter  when  used  with  any  of 
the  Eastman  Panchromatic  films  has  a 
factor  of  1.5.  But  when  used  with  Agfa 
panchromatic  the  filter  is  2. 

The  filter  factors  may  be  converted 
to  terms  of  exposure  by  again  referring 
to  the  charts  on  page  245  in  the  June 
issue  of  Home  Movies.  If,  for  example 
normal  exposure  is  established  at  f  '5.6, 
the  use  of  a  filter  with  a  1.5  factor 
(with  Eastman  panchromatic  film) 
would  call  for  increase  of  exposure  to 
f  4.5.  A  filter  factor  of  3  would  re- 
quire exposure  to  be  increased  to  f  '3.2. 
(or  f/3.5). 

To  proceed  with  the  tests,  place  the 
first  filter  to  be  tested  before  the  lens  in 
a  suitable  filter  holder.  After  setting  the 
calculated  exposure,  shoot  a  nominal 
amount  of  footage.  Replace  filter  with 
another,  and  continue  filming.  When 
tests  are  completed,  it  will  be  possible 
to  observe  on  the  screen  the  actual  ef- 
fect filters  have  on  the  film  used  as 
well  as  the  general  color  correction  im- 
parted to  the  scene.  Incidentally,  if 
there  is  any  possibility  that  confusion 
may  arise  later  as  to  what  exposure  or 
filter  was  employed  in  each  shot,  it  is 
advisable  to  "label"  each  shot  in  ad- 
vance, using  a  slate  or  piece  of  card- 
board on  which  the  data  is  written, 
holding  it  at  proper  distance  before  the 
camera  and  shooting  a  few  frames. 

Focusing:  One  of  the  most  important 
tests  to  be  made  is  that  of  focusing. 
Many  articles  have  appeared  in  Home 
Movies  and  other  photographric  pub- 
lications in  which  the  effect  of  vari- 
ous combinations  of  focus  and  exposure 
settings  were  illustrated.  Such  tests  are 
better  studied  on  the  motion  picture 


scr.en.  We  know  that  a  stop  of 
f  3.5  will  provide  less  depth  of  focus 
than  f/ii.  Yet  great  depth  of  focus 
is  not  always  a  desirable  element  in 
every  motion  picture  shot.  Frequently, 
in  professional  films,  exposure  is  delib- 
erately made  at  f/2.7  in  order  to  ob- 
scure an  uncomplimentary  background. 
On  the  other  hand,  there  are  times  when 
maximum  depth  of  focus  in  a  scene  is 
highly  desirable.  The  cinefilmer  should 
know  how  to  obtain  focus  of  the  de- 
seed depth  when  wanted,  and  a  series  of 
tests  will  prove  invaluable  experience 
for  him. 

The  same  scene,  used  for  the  above 
tests,  may  be  used  for  the  exposure 
tests,  but  will  require  that  they  be  made 
under  various  light  conditions.  In  other 
words,  since  normal  speed  of  the  cam- 
era is  16  f.p.s.,  and  normal  exposure, 
say  for  12  o'clock  noon  is  f  11,  ob- 
viously to  shoot  this  same  scene  at  a 
wider  opening  of  f  3.5  at  the  same  time 
of  day  would  result  in  gross  overexpos- 
ure. The  f/  3.5  shot  would  have  to  wait 
until  near  sundown  or  a  cloudy  or  over- 
cast day.  The  results,  however  would 
have  considerable  bearing  on  the  future 
film  technique  of  the  amateur;  would 
lead  him  to  consider  filming  scenes  at 
only  certain  times  of  day  to  achieve 
wanted  results  instead  of  shooting  hap- 
hazardly at  any  time  of  day. 

Camera  Speeds:  The  various  camera 
speeds  should  come  in  for  a  full  share  of 
testing.  More  than  75  per  cent  of  cine 
camera  owners  never  make  movies  with 
anything  but  the  16  f.p.s.  camera  speed. 
Unique  trick  effects  —  slow  motion, 
"Keystone  Comedy"  chase  action,  etc., 
are  available  to  the  amateur  who  will 
but  reset  the  speed  control  of  his  cam- 
era and  shoot. 

Lenses:  The  use  of  telephoto  and  wide 
angle  lenses  should  certainly  be  tested. 
Here  again,  the  amateur  may  be  with- 
out such  equipment,  but  he  can  usual- 
ly arrange  for  the  loan  of  them  from 
his  dealer  for  purposes  of  making  tests. 
Certainly,  barring  the  filmer's  inability 
to  buy,  a  sale  will  ultimately  result;  for 
a  telephoto  lens  is  one  of  the  most  im- 
portant items  of  equipment  for  the 
serious  movie  amateur.  Long  shots 
should  be  made  of  a  distant  vista,  then 
followed  up  with  shots  of  the  same 
scene  made  with  telephotos  of  various 
focal  lengths. 

Few  amateurs  are  aware  of  the  great 
difference  in  the  action  of  a  scene  filmed 
with  a  telephoto  as  compared  with  that 
filmed  with  a  regular  lens,  and  test 
shots  should  be  made  so  that  the  inter- 
esting different  results  may  be  studied 
on  the  screen.  Possibly,  the  reader  will 
recall  viewing  newsrecl  shots  of  a  horse 


HOME  MOVIES  FOR  OCTOBER 


PAGE  405 


CUT  HOME  MOVIE  COSTS 


lllJ^^llill- 


^    with  BLACK  and  WHITE  fine 
^    train   Semi-Orthe«t)roBatii  Re- 
versible Film  tar  (InMt  rtiuitt — 
lowest  toft. 

1 6mm.  Reversible 
Outdoor  Film 

100-ft  Roll,  only  $2.50 

Rating  Schelner  18 

8mm.  Reversiblf   Outdoor  Film 

25  U.  Double  8.  cnly  $1.25 


1 4mm.  Projection  Reel— 200 
ft.  reel — 35c  each. 
Minimum  order  i  reels. 


Wn'e  tor  prices  for  develop- 
ing and  p'ocessing  for  8mm. 
and     16mm.     films  bought 
elsewhere. 


VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  Breadway.         Ofpt.  ij         BrtoklyR.  N.  Y. 


8mm.- 1 6mm. -35mm. 

KODACHROME 

OF  THE  BEAUTIFUL 

CAVERNS 
of   L  U  R  A  Y 


This  extremely  interestinj  and  most  unusual  film 
will  make  a  valuable  addition  to  your  film  library. 

36-2x2  KODACHROME  SLIDES — *  for — $  1.00 
100  Ft.  16mm.  KODACHROKE  P  P  10.00 
50  Ft.  16mm.  KODACHROME  0  A  6.00 
50  Ft.   8mm.  KODACHROME  S     I  6.00 

25  Ft.   8mm.  KODACHROME  T    D  3.50 

LURAY  CAVERNS.  Bx.  1  076,  Luray,  Va. 


BETTER 
BULK 
FILMS 


CORONA 

PRICES    DO    NOT     INCLUDE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 

CORONA-PAN   „  24-16       J3.15  $11.60 

ORTHOCHROMATIC         12-  4         1.75  6.00 
SAME   PRICE   FOR    I6MM.   OR   DOUBLE  8MM. 
MACHINE   REVERSAL  P  R  OCESSI  N  G— Double  8 
or  16mm— 100  ft..  85e;  50  ft.,  65e:  25  ft.,  50«. 

All  Orders  Shipped  Postpaid  Except  C.O.D. 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AYE.      BROOKLYN.  N.  Y. 


0«t    Ihtt   PBEZ    BOOK-  KrerT 

UoTle  (an  should  have  It.  Chuck 

full    with   cholceii    oargalni  Twu 

tTer  itw    Daylight  Leading  Movie 

film  at  low  as  II  per  'oil.  oro- 

teasing  Ineluded.  Alio  bulk  (Un, 

and  dozens  of  bartalni  lo  terM- 

lorles.  screens,  reals,  tltleri,  etc. 

Contains  BIO  >rrxv  LIST  l«3  film  sublecu.  ilam- 
''>iiT  films,  cartoons.  v«p|tems,  historical,  adven- 
ture and  spnrta  fllm»  ir  8mm  and  16ram.  Write 
tnday.  Twir  nojnc  ^itcaid  hrlnis  :hls  handy 
book  by  return  mall  tREE: 

C8SC0    FILM  PRODUCTS 

3827  Archer  Avenue  Dept.  H-IO  Chicago 


Notice  to  MoYie  Fans 

If  you  take  moviei  (8mm  or  16mml  you  sfmply  cannot 
afford  lo  be  without  a  Ft**  copy  of  the  latest  Photo  Bar. 
gain  Book  now  t>€lne  dtstrihuled  Ihrouffhout  the  U. 
Llata  all  the  best  moving  picture  equipment  from  all 
the  leadlns  manufacturers,  describes  them.  The  prlcea 
Bare  you  money  in  many  lases.  You'll  find  the  latest 
In  lenses,  screens,  meters,  projectora.  cameras,  film, 
tltlera.  edltine  outfits,  tripods,  books  on  editing, 
tltllnlf,  etc.  This  TUr^in  Book  is  Invaluable  to  you  as 
an  equipment  Rt-f  hitESCE  tK>ok.  I>on't  watt  a  day 
longer  to   Mknd   for   your   Free   copv.   Write   us  now. 

CfNTRAL  CAMERA  COMPANY 
230  S.  Wabash  Dept.  J-9  Chicago.  Illinois 


If.r.  KODACHROME 'sll-: 

Title — "THE    END":    Iflmm.    nith    fade-out.  50c 

each.    Without  fade-out.  3  for  $1.00. 
"YOSEMITE":  16iiim.  any  length,  at  I8<  per  fort. 
■YOSEinTE";  KodasUdes.  35mm.  (2x2).  50«  each. 

Other  subjects  (both  16mm.  and  Slides!  :  The 
Blooming  Desert;  San  Francisco;  Alaska;  Canadian 
Rockies,  and  others. 

GUY  D.  HASELTON 


7M8  Santa  Monlaa  BM. 


Hollyve^.  Calif. 


race  where  the  horses  are  galloping 
straight  for  the  camera  but  appear  to 
be  covering  very  little  ground  consid- 
ering the  speed  at  which  they're  travel- 
ing. This  effect  results  from  making 
the  shot  at  a  distance  with  a  telephoto 
lens,  ^"here  a  standard  lens  is  used,  the 
S3me  action  would  appear  normal  as 
seen  by  the  cameraman  at  the  time  the 
shot  was  made. 

Kodacfjrome:  There  are  many  other 
phases  of  cinematography  which  should 
also  come  in  for  its  share  of  testing  and 
by  no  means  is  it  our  intention  to  over- 
look the  need  for  making  tests  with 
Kodachrome.  Panchromatic  film  was 
first  suggested  because  of  its  compara- 
tive low  cost,  also  because  it  enables 
tests  of  filters  to  be  made. 

However,  the  beginning  amateur  can 
invest  a  fifty  foot  spool  of  Kodachrome 
in  no  better  way  than  to  make  a  series 
of  tests  for  exposure.  Many  amateurs 
have  had  the  experience  of  shooting  a 
scene  with  Kodachrome  at  f  i6,  rely- 
ing upon  the  exposure  indicated  by  their 
meters  only  to  find  gross  under-expos- 
ure resulting.  As  Eastman  consistently 
warns:  regardless  what  the  light  meter 
indicates,  never  shoot  Kodachrome  in 
daylight  with  the  lens  opened  to  more 
than  f  II. 

The  rule  for  average  Kodachrome 
filming  is  therefore  definitely  estab- 
lished. But  more  general  knowledge  is 
required  of  the  characteristics  of  color 
film  when  used  in  filming  scenes  under 
adverse  light  conditions,  in  shadows, 
and  in  the  early  morning  and  late  af- 
ternoon hours.  Certain  allowances  must 
be  made  in  exposure;  Kodachrome  fil- 
ters can  be  used  to  advantage  under 
these  extraordinary  conditions  to  secure 
best  results.  Actual  tests  are  the  one 
shortcut  to  this  knowledge. 

If  one  considers  the  actual  value  of 
the  footage  spoiled  through  incorrect 
exposure,  of  the  loss  in  cinematic  effect 
through  ignorance  of  the  wide  latitude 
of  both  film  and  camera  as  well  as  cam- 
era accessories,  over  a  nominal  period  of 
time,  there  can  be  little  doubt  about 
the  wisdom  of  undertaking  this  testing 
project  without  delay. 

%Vindback  .  .  . 

•  Continued  from  Page  ;9; 

fade-out  the  lens  is  capped  and  the  film 
wound  back  by  means  of  the  windback 
key  turned  counter-clockwise.  Starting 
button  must  be  released  simultaneously 
and  maintained  in  operating  position 
while  film  is  being  wound  back.  Also,  it 
is  necessary  that  the  motor  spring  be 
not  wound  too  tight,  otherwise  the  back 
v\'inding  action  will  be  limited  or  stop- 
ped altogether,  b  inding  back  the  film 
automatically  winds  the  motor  spring. 


Now  Available 

Foi  the 

Fiist  Time 

POPULAR  PRICES 

POST  PlfTlRES 

16MM.  SOUND  FILMS 


FLIP  CARTOONS' 

A  series  of  20  fjerfectly 
animated  and  well-syn- 
chronized humorous 
cartoons.  1  reel  each. 
8   minutes  SI  7.50 


POETIC  GEMS 

by  CDGAR  GUBST 

1 3  pictorial  adaptations  of  famous 
poems  of  Edgar  A.  Guest.  1  reel  each. 
10  minutes   $17.50 


PORT  0'  CALL 
#  TRAVELOGUES 


Entertaining,  instructive  films  with 
Deane  Dickason,  noted  traveler  as  com- 
mentator. 31  subjects.  1  reel  each. 
10  minutes  $17.50 


"MICKY  McGUIRE'' 

COMEDIES 

Six  2-reel  subjects  starring  Mickey 
Rooney  in  hilarious  adventures  with  his 
gang,    20    minutes  ..$45.00 


WESTERN 
FEATURETTES 


Eight  2-reel  "featurettes"  full  of  action 
and  adventure  in  true  Western  style. 
20   minutes   ...$45.00 


Treat  your  movie  audience  to 
these  fascinating  films.  You'll 
find  them  at  your  local  dealer  .  .  . 
for  sale  or  rental. 
Send  for  FREE  catalogue  uith 
complete  list  of  features,  shorts, 
cartoons,  etc. 


POST  PICTURES  CORP. 

1 723  Seventh  Ave.        New  York.  N.  Y.  I 
Dept.  14  I 


PACE  406 


HOME  MOVIES  FOR  OCTOBER 


"Mary  Smith,  American" 

A  Two  Reel  Subject  Produced 
by  the  Bureau  of  Aeronautics, 
United  States  Navy. 

Showing  woman's  dramatic 
place  in  the  War.  ThriUing 
entertainment!  Introduc- 
ing to  the  screen  the  sensa- 
tional new  Navy  hit  song, 
"Swing  High  For  the 
Navy." 

Price  $50 

Dealer's  Discount,  40% 

Astor  Pictures  Corp. 

130  West  46th  St.,  New  York  City 


A  BARREL  OF  LAUGHS! 
CARTOONS  —  COMEDIES 

Complete  Edition   (Full  Reel) 

8  MM  $  5.50 

16  MM   8.75 

16  MM.  SOUND   -   17.50 

Dealer  Discount i  Available  , 
CERTIFIED  FILM  DISTRIBUTORS,  Inc. 

25  West  45fh  Street 


New  York 


PB  MOVIE  FILTER  KIT  FOR  COLORFILM 

FOR  i^EVERE  ^^^^"^^ 

Including  I  Screw-In-Sunshade,  1  Haie  Filter, 
I  Type  A  Filter.  I  Pouch,  $4.75 

complete   * 

From   All    Leading   Camera   Dealers  or 

PONDER  &  BEST 

1015  SO.  GRAND  AVE..  LOS  ANGELES.  CALIF. 


Reversible  Film.  100  Ft  $1.95 

8mm.  Do"ble    25  Ft  $1.50 

PRICES    INCLUDE  PROCESSING 

Silly  Symphonies.  Charlie  Chaplin  and  other 
features  at  IH?  per  foot  for  complete  subject. 
Write  t-day  fir  nnr  cataliavie  of  finished  subjects. 

STAR    SAFETY  FILM 

630  Ninth  Ave.  Film  Center  BIdg.,  N.  Y.  C. 


Kodachrome 


MAPS   CHARTS    FINE  TITLES 

GEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 

995-A    Merchandise    Mart,  Chicago 


When    You    Buy  BAIA 
You  Buy  the  Best 

rrecision  Made; 
Guaranteed  Perfect 

$2.75 

From  Your  Dealer  or  Direct 
BMA  MOTION  PICTURE  ENC. 
Ififi  Victor 
Mlerhland  Park.  Michigan 


Write 
■      U(  For 
I  Photo 
^  Equipment 


lOOJ   fENNSTLVANIA   AVI.   M.W.,  WASHINGTON,   D.  C. 


Backwinding  continues  for  ten  com- 
plete turns  of  the  key.  Since  the  film 
sprocket  on  the  shaft  turned  by  the 
windback  key  passes  eight  frames  of 
film  with  each  complete  revolution,  lo 
counter-clockwise  revolutions  of  the 
gear  winds  back  the  film  8o  frames  or 
2  feet  of  1 6mm.  film. 

To  complete  the  lap  dissolve,  remove 
the  lens  cap  and  fade  in  the  next  scene, 
making  the  fade-in  of  5  seconds  dura- 
tion— to  correspond  with  the  fade-out. 
A  second  type  of  transition  consists  of 
ending  the  scene  without  a  fade;  wind- 
ing back  5  turns  (i  foot  of  film)  with 
lens  capped;  and  double  exposing  the 
next  scene  over  the  last  foot  of  film  of 
the  previous  shot.  Transitions  of  this 
type  are  more  suitable  when  used  to 
join  associated  scenes  that  are  made  at 
about  equal  camera  distance,  while  the 
lap-dissolve  is  better  used  when  the 
transition  is  to  be  from  long  shot  to 
closeup. 

The  plan  described  here  does  not  pro- 
vide for  takeup,  on  the  film  supply 
spool,  of  the  film  as  it  is  wound  back 
from  the  exposed  film  spool.  I  discov- 
ered that  two  feet  of  film  can  easily  be 
wound  back  without  any  danger  of 
jamming  the  camera.  There  is  enough 
room  within  the  case  to  allow  two  feet 
of  film  to  accumulate  in  folds  in  such 
a  manner  it  will  readily  make  the  re- 
turn trip  through  the  film  gate  without 
buckling  or  wavering. 


ZJime'lap^e 
pkotoffrapk^  .  .  • 

e  Continued  from  Pa^e  }Sg 


a  manner  to  permit  tilting  camera  when 
focusing  same  on  a  subject. 

After  completing  the  apparatus,  the 
first  subject  I  filmed  was  an  ordinary 
clock.  This  was  to  determine  if  all  my 
contacts  were  good  and,  happily,  the  de- 
vice caused  an  exposure  to  be  made 
every  ten  minutes  as  provided.  The  test 
reel  proved  my  apparatus  worked  suc- 
cessfully the  very  first  time,  and  I 
have  since  used  it  irmumerable  times 
in  photographing  nature  subjects. 

While  the  construction  of  my  time 
lapse  equipment  dates  back  several 
months,  I  feel  it  is  more  timely  than 
ever  as  a  means  of  keeping  me  active 
with  my  hobby.  Tire  and  gasoline  ra- 
tioning may  restrict  the  filming  of  oth- 
er amateurs,  but  I  can  hole  up  for  the 
duration  with  nothing  but  my  home 
and  garden  as  filming  territory  and 
keep  my  camera  busy. 


A   hine   utrt   tor   a    Friend   or  Yourself 

Bookshelf  size   for   reels  or  cans.   Blue,  green, 
rnaroon  or  blaclt. 

No.  600  for  nine  200-foot.  8mm.  reels  $1.50 

No.  700  for  seven  400-ft.  16mm.  reels   1.95 

At  Stores  or  direct  prepaid  on  Money-back  Trial 

Free  Catalog  of  Amflles  for  Slides,  Negatives,  etc. 


AMBERG  FILE  &  INDEX  CO.  ilkLlrXoli 


eVERY   8MM.    FAN  WANTS 

CINE  EXTENAR 

It's  the  new  WIDE  ANGLE 
lenj  that  ev«ry  cine  fan 
needs  to  catch  the  whola 
picture.  Simply  screws 
over  regular  8mm.  lens, 
providing  identical  focus 
and  definition  plus  a  WIDE 
ANGLE.  $27.50 
For  full  particulars,  write  today 

CAMERA    SPECIALTY  CO. 

48  West  29th  Street        New  York  City 


New  8mm. 

HOLLYWOOD 
FILM 

Going  Like  Wildfire 

Priee   Includes  guaranteed   maehlne  procesvlng. 

AMBERTINT    $1.25 

A  prartlcal  erery-day  fUm  for  outdoors.  Flaeiraln. 

s^ml-ortho.  wide  latitude. 

OUTDOOR    $1.25 

Excellent   outdoor   film  with   enouih   ipead  for 
•Imoit  til  conditions.  Wide  latitude. 
All  film  machine  processed  under  Eastman  Kodak  Co.'i 
patents 

Callf''rnla  Customers  Include  Sales  Tax 

HOLLYWOODLAND  STUDIOS 

SOUTH  GATE  CALIFORNIA 


Distinctive  TITLES 
and  expert  EDITING 

For  the  Amateur  and  ProfMaional 

16nini   —  Smm 
Black   A    White,   Tinted   am)  Kodachrnme 
Wriir  for  niir  new  ill ugrrated  ratal oe 
STAHL  EDITING  I  TITLING  SERVICE 
33  West  42nd  Street  New  York.  N. 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 

8ERNDT-MAURER  RECORDER 
CEO.  W.  COLBURN  LABORATORY 

995-A    Merchandise   Mart  CHICAGO 


GRADUATE  TO  A  Seematifi 

3-star  SPLICER! 


lor  gr*«i»T 
•craacyl 
^it  Dry  •malalen 


•crapaf  —  kUal  for  l 
it  Ascbar*d  cvmwM  -  cannot  iq 

Mil 

WHOLESALE  PHOTO   SUPPLY  COMPANY 

7266  eCVCPlT    eOULEVARD       *       HOlLYWOCD.  CALtrORM-'- 

HOME  MOVIES  FOR  OCTOBER 


PACE  407 


TITIE  trouble  A 


By  GEORGE  W.  CUSHMAN 


If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self -addressed  stamped 
envelope  if  you  wish  an  early  reply. 

Q.  7  have  a  choice  between  using  shims  or  an  auxiliary 
lens  in  making  titles.  Which  will  give  the  best  results? — 
H.  S.,  New  Haven,  Conn. 

A.  Both,  properly  used,  will  give  equally  good  results. 
The  auxiliary  lens  being  easier  to  obtain  and  use,  is  most 
frequently  used  by  the  average  amateur  in  filming  titles. 

Q.  What  method  do  you  suggest  for  making  tinted  titles 
— using  tinted  base  positive  film  or  tinting  or  toning  black 
and  white  film? — S.  M.,  Lawrence,  Kansas. 

A.  Using  tinted  base  positive.  It  costs  no  more  than 
black  and  white  and  eliminates  the  tinting  or  toning  pro- 
cess and,  with  it,  the  everpresent  possibility  that  you  might 
not  dye  the  film  evenly. 

Q.  Can  title  cards  in  color  originally  made  up  for  Koda- 
chrome  be  photographed  satisfactorily  with  black  and 
white  film? — S.  F.  C,  Gross  Point e  Pk.,  Mich. 

A.  Depends  upon  the  colors  and  whether  you  use  pan  or 
"color-blind"  ortho  or  positive  film.  Where  Kodachrome 
depends  upon  differences  in  color  for  contrast,  black  and 
white  film  depends  upon  differences  in  light  and  dark 
tones.  Colors  register  on  black  and  white  film  in  tones  of 
grey  or  black.  A  title  consisting  of  yellow  letters  over  a 
li^ht  blue  background  would  not  register  satisfactorily  on 
black  and  white  film  whereas  a  red  title  card  with  blue 
lettering  would  register  with  reasonable  contrast. 

Q.  Title  card  area  of  my  titler  is  lY/'x^Yz".  Are  there 
any  b'ock  letters  on  the  market  for  use  on  title  cards  of 
this  size? — G.  C,  Altoona,  Pa. 

A.  None  that  we  know  of.  For  short  titles,  particularly 
main  titles,  you  can  use  alphabet  soup  letters.  Buy  them 
at  your  grocers.  You  can  paint  them,  too,  for  Kodachrome 
titles. 

Q.  Where  can  I  obtain  plans  for  building  a  home  made 
titler?— W.  A.  S.,  Newton,  la. 

A.  Plans  for  a  versatile  titler  capable  of  trick  effects  and 
accomodating  title  cards  of  various  sizes  were  published 
in  November  and  December  19^8  issues  of  Home  Movies. 
They  were  later  incorporated  into  content  of  the  book, 
"How  to  Title  Home  Movies,"  now  available  from  the 
publishers  of  this  magazine.  The  price  is  $1.00  per  copy. 

NOTE:  The  "end"  title  cards  in  the  next  column 
are  a  new  innovation  in  film  finales  for  cinematic 
hosts  who  serve  a  snack  or  cocktail  after  the  show 
is  over.  When  complete  it  consists  of  three  separate 
shots — the  two  cards  shown  here,  and  another 
shot,  using  the  last  card  with  an  illustration  of 
sandwiches  or  drinks  carefully  cut  otit  and  ap- 
plied over  the  lettered  area. 


TITLES 


By  EDMUND  TURNER 


SPORTS 


PAGE  408 


HOME  MOVIES  FOR  OCTOBER 


CLiSSlFIED 


IDIERTISIK 


EQUIPMENT  FOR  SALE 


USED  CAMERAS 
8mrr.  BeH  &  Howell  single  8.  »«fth  case.  FJ-5  iens. 
S22.50 

8mm    C"-e  Kodak  Moael  20,  FJ.5  lens.  S22-50. 
Sm-n.  Kevere  Model  K    FJ.5  lens  $29.75. 
Smm.  B.   &   H.  CofTipanlon   Double  8,    F3.S  lens. 
$37  JO. 

BiT.m.  Revere  Model  99  Turret,  wi'ttt  l2'/2mm.  Wo(- 

lensak  F:l.9  in  focusing  mount,  $87.50. 
8tnm.  Bolei.  latest  mo<2ei    ly/jmrn.  Wollensalt  F:L9 

foe  mt.,   I'  F2.7  Wollersak  foe.  rrt.,   t'/i'  Britar 

Fa  7  foe.  -rt.  and  case,  $262.50. 
I6fnm.    Kodak  Model  B    F:L9  'ens.  $42.50. 
Itmm.  Kevstone  A-7,  I'  F-.2-7  fT»ed  focus.  $39.50. 
Ifcmm.  B.iH.  Rlr-o  i2>  Magazine  Cooke  Fa.7  fired 

focus  with  case  557.50. 
Ifrnm.  B.iH   121   Magazine,  with  F:l.a  Cooke  lens. 

I6mrr'.  Cine  Kodak  Magazine  with  F:l.9  lens.  $92.50. 
Itmm.  B.SH.    141    Magazine,   with   Ansl»   f-2.7  ar 

S92-50-  „    ,  , 

16mm.  Filmo  70S.  latest  model.   Fi7  niea  focus. 

16mm  B.iH.  I4i  Magazine,  with  I'  Lumax  F:l.9 
lens,  foe  mf..  $117.50. 

16mm.  Victor  Model  5  turret,  15mm.  wide  angle. 
Fa 7  *=»ed  focus.  1'.  Cocke  F:l.8  in  foe  mt., 
r  WoHensak  Telephoto  F:4.5.  $I37S). 

16mm.  B.iH.  RImo  TOE.  with  I'  Cooke  F:l.8  foe. 
mt.  and  case.  $14450 

16mm  Cine    Kodak    Special,    late   model,   with  • 
Kodak  F:l.9  lens.  S4I7.S0. 

I6MM.  USED  PROJECTORS 

Kodascope  Model  B.  automatic  threading.  wtI- 
case.  ^.SO. ' 

Bell  &  Howell,  tecoftditioned.  Model  57.  400  wa- 
lamp  and  case,  SS3.00. 

Bell  &  Howell  Model  57.  375  watt,  variable  resist- 
ance and  meter,  case.  $57.50. 

Bell  a  Howell  Auditorium,.  1200  watt  lamp.  1600  ft. 
capacity,  w>tf>  case,  $29SJ)0. 

In  Stock:  New  Filmomasters  8  and  I6mra.  Revere 
Deluxe,  Ke.-s^-one  A-82  Cine  Magazines  8  and 
l6mrr.'RI-nc  Au-oloads  and  Automaster  models. 
Bell  i  Hcwell  alrecT  focuser  for  Au+oioad  or 
A-jtomaster.  $2035.  Quick  Set  Jr.  Cine  Tripod, 
00.00  . 

Complete  stocks  of  Cine  Lenses,  all  focal  leng+tis. 
Write  for  ouotaflons. 

We  b-jv  em,  sell  'em.  and  trade  'em.  Complete 
s-cc<;  o-  new  Cine  ecuipment.  all  makes.  Send 
-r-  555S  Suoplementary  List  of  Cine  Eculpnnent 
-  --  ^a'e. 

:^   ;     -i«.«ERA   COMPANY    Dec\    HC.    179  W. 
=  -  C-'raoc  l'I"-c"s- 


Hc- 
4x5 

Of': 


-.^  .  =  .  -~  —  o'e~e  a~ciifie'' 

---'3  "j-c    $i2SC.X.  Ca-33. 

■  -  :  5rV:  2  " -«c  "m 
--<s  '  '  2*  2'  '  2.7 
--  -lacnined  fo--  ^. ce  C  — c 
:-  3M  above  saulc-e-^  $450.00. 
:;-^era  motor,  SW.QO.  8e!i  & 
^-  $30.00.  Curtis  Ccior  printer 
i;\     429    R'dgewood,  Day+on, 


Missc- 


Ave. 


Cell- bus,  'Ch^o. 


:0^d3v 
BROS. 


-eco-de-  and  amolifler  com- 
"EuE  MOTION  PICTURE  SERV- 
Ta— pa,  F'orlda. 


•    5TEWA?T-WA9\FI?   16.  .  Special  Cannera  flt- 

,  --    r.FT-  r.  -   2- e-s   ^i'-e*-   for  standa'd 
-  '  :    -.i-g    focislng    'uce.    Bell  i 

"-■n'c      a-:;     igi^-gl     shift  allg"- 

-5        :  -  -  s::  :c  BOX  cv-io 

HC»E  Hollywood, 
Ca  - 


•  FOR  SALE— I6mm.  A.n'co^ 
t6m-.    -c^"c-    c'c^.-e  c-"-'e- 


-  -1  -s  €c-a-o    a  so 
.-t.   Sell    both  for 
f5S.  L  J.  FRANKEL, 
Va 


•  Have  you  Some- 
thing to  sell? 

Turn    it   into    cash    with    a    Hom«  Mov!«$ 

classified  ad! 

RATES:  Ten  cents  per  word:  minimum 
charge,  $2  cash  with  order.  Closing  date, 
lOth  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Sand 
ad  copy  to  UHO  Sunset  Boulevard,  Holly- 
wood, California. 


WANTED 


•  PRIVATE  ca—.  -  =  --  C  -e  See:  2  iens, 
w'.rh  w'oe  angle  a-3  ec'o-c  e-ses  ■•'  ccss'ble. 
Quote  lowest  price.  Cash  sale.  A.  R.  CARUCCI, 
422  E.  4th  St.,  Wilmington,  Del.  Phone  4-7604 

•  PAY  CASH  for  Victor  Animatophore  sou^a-o-n- 
dlsc  model  6  proiector  or  other  16mm  oroiecor 
w>h  sv-c'-ronlzed  turntable.  N.  J.  BUECHELE. 
2000   Pec^ia   Ave.    Peoria.  III.  

•  WAMT  ef'e  —agaz'ne  for  Eastman  Cine  Spe- 
Cia\  a'sc  e-ses  Pola  screen  with  viewer  and  trl- 
Dod.  SAUL  3RA0LEY  3721  N.  LaSalle.  Indianaoolis. 
Ind.  

•  WANTED  —  used  ecuipment.  Bargain  list  on 
request.  PETERS  41-B  So.  4th  St.,  Allentown,  Penna. 


TITLING 


•  .  <vc  -  "is:  -  -.  «3..  <  -  -- 
six  coles,  Inrructiors  price  50c.  DUNLAP'S  CINE 
LAB.    2566  Cambrdge  St..   DuBpistown,  Pa.  

•  TITLING  and  Close-uo  Lens  Kit — Six  supple- 
menrarv  'snses  of  16",  18",  20^  24",  32'  and 
40''  focal  ig-gths.  Can  be  used  on  all  titlers  which 
provide  fcr  intgrcnange  of  lerses.  Also  ideal  for 
general  close-up  pHorography.  Complete  kit  $3.00. 
Seoara'e  lenses  60c  eacH.  Also  available  In  6",  8" 
and  12"  'ocal  lengths  'or  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO.,  3221  So. 
F'gjerpa  S*.    Los  Angeles.  Calif. 

•  T'TLINS  LETTERS  rha-  give  you  professional 
resji-s.  Pin  'eHer  and  sanded  back  le-+ens.  Com- 
p  e-e  sets  ava'  acle  $4.75  uc.  Write  for  aescric'ive 
ilt3-a'~jre.  As»  aoou*  Ssn'-a  C'aus,  Tu<-«ey  and  o'he' 
title  Illurtros.  B'g  '.ariet-,  of  large  size  and  varied 
sfvie  letters  can  be  purc'^ased  bv  the  letter  to  fill 
a!,  titling  needs.  MITTENS  LETTER  CO..  Redlands. 
Ca  - 

 FILMS  FOR  EXCHANGE  

•  6MM.  P  ^m5  J-rC  -e«  s"  e-- 
Si.OO-  sc. -3  52.x  _=-e'=-'  -e  55ses-  =-re  *:  caae 
catalogue.  BETTER  F.lMS  742  Ne«  -c-s  Ave. 
Brookfvtl,   N.  Y. 


TITLE 
CENTERING 
GUIDES 

for  all  popular  makes  of  Smm.  and 

16mm.  cameras 

IN  PAMPHLET  FORM  ..10c  EACH 
Now  ready  for  Hie  following  cameras: 

Revere  Smm.  1  All  models' — Smm. 
Magazine  Cirve  Kcxlak — Smgle-lens 
8mm.  Filmo  —  Smm.  Turret  Filmo 
Smm.  Cine  Kodaks  20.  25  and  60 — 
Smm.  Keystone — 1  6mm.  Cine  Ko- 
dak K — 16mm.  Model  70  Filmos — 
121  Filmo — 141  Filmo — Cine  Ko- 
dak E — Cine  Kodak  K. — 16mm. 
Victor  —  I  6mm.  Ke\  stone.  Models 
A3.  A7  and  B' 

Be  Sure  fo  Specify  Make  and  Model 
and  Camera  WVien  Ordering. 

HOME  MOVIES  MAGAZINE 

6060  Sunsst  Blvd..  Hollywood,  Calif. 


FILM  RELEASES 


''OURS    'or    r~e    asking!    Ms  c'*'  40-o^ge 

-e--a  C3^3  cg — s^'ent  sc.no  3~  —  .  and  I6nm. 
•  .cr  -.3-e  a-a  ado-ess  'ooa^.  NATIONAL 
JE»^A  SFRVICE   69  De»  St.    N.  Y.  C. 


•  SELLING  OUT  200  reels  16mm.  siapstick  com- 
er  as,  cartoons,  travels,  400  feet  each,  $3.95  each, 
"'ades  50c  reel.  We  buy  anything.  BOBS  154  E 
■'7-n  St..  N.  Y.  C. 

•  SOUND  and  Silent  Films  exchanged,  bought 
SCO,  rented.  Bargains  alwa/s.  New  Free  lists. 
-CA'-'K  LANE.  5  Little  BIdg.    Boston  Mass.  

•  8MM..I6WM.  films.  C^s'le,  Ejcel,  NuArt,  Offl- 
c  al.  Hollywood — over  2000  ro''s  si'ent,  sound.  Join 
our  yearly  movie  club.  Carr-iera.  films — Agfa.  East- 
man. DuPont  Solar  —  all  sizes  colors.  COLLIER 
OHOTO  SALES  9508  Nelson  Ave..  Telephone  01-6836 
C'evela-d  O^^'o.  

•  M(5nEYMAKER.  '  Tne  World  s  Greatest  Passion 
Play."  16mm  ana  35mm.  Specify  sound  or  silent. 
Rent  or  purchase.  Superior  thj*n  Oberamme'^gau- 
play.  HFMFNWAY  FILM  CO.,  Boston.  Mass. 

•  8MM  films:  All  mao'  c-oducers.  New-used 
prin^.  Sales  e»c.Ha-ges  trade-ins.  RIEDEL  FILMi 
Dept.  HM-1042    3207  Josl/n  Rg..  Sleveland,  Ohio. 

•  SELLING  our  used  8-l6mm.  flms.  Man/  bar- 
gains, cartoons  comed'es  sports.  Films  exchanged. 
GABY  FILMS    369  Eas-  55*^    3-cot  <-    N.  Y. 

•  100  FT.  16mm.  used  so^ng  n-  ji.OO  ocs»oaid. 
Good  used  16mm  scu^a  fear..res  shorts — attractive 
prices.  BLACKHAWIC  FILMS,  Dept.  HM2.  Daven- 
pcrt.  Iowa. 

•  8-I6MM.  film  subiec^  60c  up.  Lists,  stamp. 
P"ICE  SERVICE.  2484  Liddesdale,  Detroit  Mich. 

•  FREE  Movie  Catalog:  samole  Film  lOc,  8mm.  and 
'6mm.  regular  and  Kodachrome;  all  kinds,  shorts 
and  features.  Protectors,  cameras  and  film  sup- 
plies. Lowest  prices,  real  ba-ga'^s.  GOODWILL 
COMPANY,  Jackson,  Tenn. 

•  WRITE  for  large  list  of  8mm.  comedies.  For 
s^le — approximately  200  feet  each — all  brand  new. 
$3  75  costoald.  ICeep  your  subject  30  da.s  a-d  ge' 
r<i*?e'ent  «-e  b'-and  new,  for  c-  •  "5:  *53E 
FILMS    1265  Broadway,  New  York  C  -■ 

•  COMPLETE  8-l6mm.  sound-silent  subiects,  $1.00. 
Need  splicing.  All  sizes  film  bought,  sold,  ex- 
changed. Arts,  catalogue,  sample  film  lOc  INTER- 
MATIONAL-H,    2120  Strauss.    Brooklyn.    N.  Y. 

•  8MM..I6MM.  sound  and  sHent  films,  proiectors. 
a-o  cameras — bough*   sola  and  exchanged.  Trades 

s  acce=-ed.  F'ee  ba'oa'n  b^Me^'n.  ZENITH 
3C?   .V?!-  ^:-< 

KODACHROME    FILM  RELEASES 


<ZZ' 


-  5  C  M  E 


:  — s — a-es"  -e  eases 
■--       a         16,  .  Di-e 

-  c- -g   cc  r-  S3-ce   a-c    V-gs.  KENWOOD 

-  -MS   3  5  E.  47—  S-.   C-'c3go.  III.  

•  KCDACi-ROME  8-  6. — flm  subiects  for 
g'C»-  OS.  L's's,  cc^c-  53  — c'e  13c.  Nc  ccs'a's  3~- 
s-e-g-:    JFNK'NS    £ -'-a    N.  Y    3e3  ;-s  .3— ea. 

FILMS 

•  TWO  rol  s  .5'  -  a-  c  .  =cc.  3' 
ESO-B  CCS+C3  ::  'e3cr/  fc-  camer3  use.  ESO-S 
S'^;  Ce--r3l,    Kansas  C'r/,  Mo.  

•  $1.75  buys  the  best  3&W  double  Smm.  film  you've 
ever  shot,  we  think.  $1.30  buys  the  new  monocolor. 
See  cjr  3d  this  month,  oage  398. 

 DUPLICATING  SERVICE  

•  S  .25   'Ays  -z-  a  •  .  o-c  "ca-e 

.cjn  favorite  reel.  Our  Monocolor  duplicates  will 
;.=<erv=  those  f3di"g  Kodachrc— e  — ovies.  Partic- 
,        F=:0-S  PICTURES.  3945  Ce— a     <a-s3s  C'-. 

Msscu''. 

PROCESSING  SERVICE 

•  f->0'  Z\  c  c-.-e  c-rc5£!  -::  X  TSc 
^0  '6mm.  SOc  25'  S  3 — .  35c:  25'  8mm.,  25c: 
SITTER    FILM    SERVICE.    629    Lyman    Ave..  Oak 

P.rk  III.  

•  ESO-S  is  iicensed  bv  Eas^— Kodak  Co.  ♦o  oro- 
-ess  V0--  do.c  e-S— --  fl'-s.  *5c.  Unive»  15c.  3945 
Ce-'-a'    <5-sas  C 


MISCELLANEOUS 


rr:_^   s^OTCG?---  = 
-o'v'cua's  C3-   :e  sc' 
nave  a   moael   release  g 


5e'c-e  .c.r  oho'os 
sa'e*"/.  you  must 
-g  legal  right  to  s»ll 
the  picture  for  Publication  or  advertising  purpos  s. 
Model  release  forms  are  now  available.  rea_  !y 
printed  in  authentic  legal  manner.  50  for  2Sc  (coin) 
postpaid.  VER  MALEN  PUBLICATIONS.  6060  Sunset 
Blvd..   Hollywood.  Calif. 


Theres  nothing  like  a  handy,  authentic  book  when  your'e 
stack  for  the  answer  to  an  amateur  movie  problem.  All 
of  these  books  belong  in  every  amateur's  kit  of  movie 
making  equipment.   They  not  only  supply  answers  to 


TELL  m  HOW! 


problems  but  offer  incentive  for  expanding  your  hobby 
— pointing  out  the  pleasure  of  titling  movies,  home  pro- 
cessing, and  gadget  and  accessory  building.  All  books 
shipped  postpaid.   Order  today! 


$1 


HOW  TO  TITLE 


Now  in  its  second  edition!  Most  popular  book  on  the  subject 
yet  published.  Gives  all  data  and  charts  needed  for  every 
type  of  home  movie  titling;  explains  use  of  shims  for  ultra 
closeups;  gives  data  on  exposure  with  photofloods,  title 
areas,  field  of  view,  auxiliary  lenses,  AND  complete  plans 
for  building  your  own  titler.  Mailed  prepaid  for  only  $1.00. 


■  .TT  . 

i  /    ■    /    "      ■   "  ^  ■ 


This  is  the  book  that  takes  up  where  your  camera  instruction 
book  leaves  off.  Makes  clear  the  functions  and  operation  of 
all  parts  of  your  carr>era  and  lays  the  groundwork  for  good 
photography  with  your  first  roll  of  film.  Points  out  mistakes 
to  avoid  which  will  save  many  times  its  price  in  film.  It's  a 
"must"  for  every  beginner.  Price  50c,  postpaid. 


«OM£MOV(f 


Processing  home  movie  film  is  far  more  fascinating  than  de- 
veloping snapshots.  It's  extremely  simple  too;  and  if  you're 
a  real  amateur,  eventually  you'll  want  to  process  your  movie 
films.  Here's  the  book  that  tells  you  how;  gives  all  formulas, 
plus  plans  for  building  your  own  processing  equipment.  It's 
a  dependable  advisor,  and  only  50c. 


With  priorities  curtailing  equipment  and  accessories,  you'll 
have  to  build  the  gadgets  you  need.  But  it's  a  lot  of  fun 
and  here's  just  the  book  that  pictures  and  describes  many 
helpful  gadgets  for  lenses,  filters,  tripods,  for  fades  and  lap- 
dissolves,  ultra-closeup  filming,  titing,  etc. — approximatey 
100  pages  of  vital  data  and  plans  for  only  $1.00. 


6060   SUNSET   BLVD.,   HOLLYWOOD,  CALIF. 


AND  8mm.  ECONOMY... 

p^^W  Sportster' 8  Camera 


Filmo  8mm.  motion  picture 
cameras  are  precision-built 
by  the  makers  of  Holly- 
wood's preferred  profes- 
sional equipment,  embody- 
ing craftsmanship  for  which 
all  Bell  &  Howell  equipment 
is  famed.  '■''W hat  you  see,  you  \ 
get"  —  and  what  you  get, 
you're  proud  of! 


Filmo  "Sporhter"  8  has  fully  enclosed 
spyglass  viewfinder .  .  .  "what  you  see, 
you  get,  "  in  slow-motion,  fast,  or  in- 
termediate speeds.  Loading  is  simple  . .  . 
no  sprockets  to  thread  .  .  .  film,  color  or 
black-and-white,  drops  into  place.  Fine, 
fast  l2V2n"n-  lens;  automatically  reset 
film  footage  dial.  Lifetime  guarantee. 


Filmo  8  "Arislocral"  has  all  the  ad- 
vantages of  the  single-lens  Filmo  8's  in 
addition  to  many  other  features,  includ- 
ing the  versatility  of  a  three-lens  turret 
head  ...any  one  of  three  lenses,  each  with 
its  matching  viewfinder  objective,  may 
be  placed  quickly  in  photographing  posi- 
tion simply  by  rotating  the  turret. 


TO  MAKE  YOUR  CAMERA  MORE  VERSATILE 
AND  RESULTS  MORE  PROFESSIONAL 


^TITLERS  FOR  SINGLE-LENS 

In  addition  to  filming  typewritten,  hand-lettered, 
or  hand-written  title  cards,  this  Titler  records  pen 
or  pencil  in  act  of  writing  or  drawing,  and  titles 
composed  of  "soup  alphabet"  or  other  small  let- 
ters which  may  be  made  to  move  magically  onto 
the  screen.  It  also  films  small  objects  such  as 
flowers,  insects,  etc.  The  card  holder  takes  cards 
approximately  3'/4  x  2  9/l6  inches.  A  dozen  each 
of  black  and  white  cards  supplied  with  Titler.  Also 
furnished  are  two  75-watt  and  two  100-watt  pro- 
jector-type lamps.  Price  .  .  .  for  single-lens  Filmo 
8's  . . .  S26.65,  for  Aristocrat  Turret  8's  . . .  S29.35. 

FILMO  TRU-PAN  TRIPOD 

Fine  quality  B&H  pan  and  tilt  head  insures  smooth 
action.  Two-section  legs  of  selected,  straight- 
grained  birch  are  strong  and  rigid  and  have  re- 
versible tips — spikes  for  outdoor,  rubber  for  in- 
door work.  The  high  quality  of  this  tripod  cannot 
be  judged  by  its  low  price  .  .  .  S20. 


FILMO  TITLE  BOARDS.  A  neatly  framed,  black 
fabric-covered  background,  closely  grooved  to  per- 
mit the  easy  placing  of  white  celluloid  letters.  Sim- 
plifies making  of  professional- 
looking  titles  that  are  "letter 
perfect."  Letters  are  in  com- 
partment box  as  illustrated. 

Price, without  let- 


ters .  .  . 
Standard 
letters  . 


I 


17° 

8 

9 

'3  I 

15° 

1  1 

4] 

1  6 

2  1 

128 

22 

3  1 

64 

32 

4  1 

32 

FILMO  FADER  (Smm.— 
16inm.)>  Permits  making 
fade-ins  and  fade-outs,  wipe- 
ons  and  wipe-offs,  from  any 
direction,  and,  if  camera  is 
equipped  with  rewind,  lap 
dissolves,  too.  Spring  driven 
. .  .  fully  automatic  .  .  .  adjust- 
able arrow  visible  in  camera 
viewfinder  shows  when  effect 
starts  and  ends.  This  elimi- 
nates need  of  tripod  in  film- 
ing. Price,  with  wipe  disc 
.  .  .  SIS. 65. 


PRECISION 
MADE  BY 


LEUDI  STILL  EXPOSURE 
METERS.  Small  meter  of  ex- 
tinction type  (iV'z  X  1  X  -  16 
inches).  Gives  readings  in  F 
stops  from  F  1.5  to  F  32  for 
films  of  speed  rating  to  2  3  de- 
grees Scheiner,  and  provides 
for  interpolation  for  film  speeds 
from  15  degrees  to  20  degrees 
Scheiner.  A  much  more  accu- 
rate meter  than  its  simplicity 
and  low  price  indicate . . .  S2.30. 


SPLICING  AND  EDITING  EQUIPMENT. 

You  can  start  with  the  one  absolutely  re- 
quired unit — the  splicer — and  add  units  as 
you  wish.  By  this  ADD-A-UNTT  method, 
you  can  work  toward  either  of  the  two 
Film  Editors  offered  complete  for  those 
who  wish  to  buy  that  way.  The  total  cost 
of  acquiring  the  complete  editor  by  the 
Add-A-Unit  plan  is  about  the  same  as  buy- 
ing the  complete  unit  at  one  time.  We 
suggest  that  you  talk  this  over  with  your 
dealer  now — and  get  the  units  you  want 
while  they  are  still  available. 

Bell  »  Howell  Company,  Chicago;  New  York;  Holly- 
wood; Washington,  D.  C.;  London.  EtlaUitktd  1907 


WHAT'S  NEW 
IN  THE 

FILMOSOUND  LIBRARY 


MEXICO  MARCHES  — a  l6-minute  film 
tribute  to  our  fighting  ally.  Mexico.  Power- 
ful combination 
of  artistic  Rus- 
sian pictures  with 
modern  material 
supplied  by  Mex- 
ican  Govern- 
ment. 


MIDWAY-CORAL  SEA  BATTLES- 

'   latest  war  news 

release — thrill- 
ing  ACTUAL 
COMBAT  mo- 
tion pictures  of 
our  naval  and  air 
forces  in  action 
against  the  Japs. 


THIS  WAS  MODERN  POLAND  — a  10- 

minute  sound  film  showing  steel  mills,  mines, 
harbors,  facto-  "?"un  t-t- 
ries,  farms,  and 
cultural  life  of 
ancient  people 
temporarily 
crushed  by  Nazi 
invaders.  War 
material  makes 
about  20%  of  the 
film,  correctly  related  to  economic  and  his- 
toric phases. 

AND  MANY  OTHERS— send  for  catalog 
— the  pick  of  the  pictures  .  .  .  educational, 
recreational,  inspirational  including  FILMS 
TH.^T  FIGHT  FOR  FREEDOM.  A 
colorful  list  of  these  will  be  mailed 
you — send  coupon. 


SEND  COUPON! 


BELL  &  HOWELL  CON!P.\NY 
1825  Larchmont  .\ve..  Chicago.  III. 

Please  send  free  literature  on  :  i  Films  That 
Fight  for  Freedom:  i  i  Filmosound  Library 
Catalog  Supplement  1942-.\;  detailed  infor- 
mation on  available  accessories  for  ;  )  Smm. 
Filmos.  (  )  16mm.  cameras:  (  )  eoiting  equip- 
ment. 


Price  25c 

YEARLY  SUBSCRIPTION.  $2.50 

i 


George  W.  Cushtiiaii 


November  •  1942 

HOLLYWOOD'S  MAGAZINE  FOR  THE  MOVIE  AMATEUR 


Keep  up  home  morale  with  regular  showings  of  these  low-cost, 

laugh-packed  Walter  Lantz  animated  cartoons.  Available  for 

both  8mm.  and  16mm.  home  projectors.  Start  now  to  build  a     100  Ft. 

permanent  library  of  good  film  entertainment.   Ask  your  dealer 

today  for  a  demonstration  screening  of  any  of  these  films!       50  Ft. 


PRICES 

16mm  $3.00 

8mm.   1.50 


DEPT 


1*  rtf 

HOUSE  OF  TRICKS — Meany.  Mmy  and 
Moe,  trapped  in  a  House  of  Magic,  en- 
counter all  sorts  of  trick  devices  and  try 
them  out  one  by  one  with  laughable  re- 
sults. Order  by  catalog  number.  1215-A. 


MIDNIGHT  SPOOKS — Meany,  Mmy  and 
Moe,  caught  m  a  rainstorm,  seek  shelter 
in  the  House  of  Magic.  Trapped  by  loss 
of  the  key  when  locked  in,  many  hilari- 
ous events  result.  Catalog  No.  1214-A. 


THE  AUTO  RACE — Mmy,  eager  to  enter 
an  auto  race,  is  hired  as  mechanic  by 
driver  of  a  powerful  race  car.  They  win 
the  race  easily  after  a  delayed  start. 
Plenty  of  action.  Catalog  number  1  21  3-A. 


CHRISTMAS  CHEER — Tre  -  ree  r-z-- 
keys  assist  a  poor  widow  make  Christmas 
merrier  for  her  brood  of  children  by  "bor- 
rowing" tree  and  toys  from  a  rich  neigh- 
bor. Catalog  number  1205-A. 


KING  GRASSHOPPER — Autumn  arrives 
and  King  Grasshopper  summons  his  army 
of  'hoppers  to  invade  the  harvest  fields. 
They're  soon  put  to  route,  though,  by 
Elmer  the  watchdog.  Catalog  No.  16-A. 


HENRIETTA    HENS    Trick    Flowers  — 

Madame  Hen's  flower  garden  is  her  pride 
and  joy  until  the  flowers  begin  playing 
tricks  on  her.  Later  the  tricks  are  dis- 
covered prank  of  gopher.  Cat.  No.  1  5-A. 


Oswald  Rabbit 
GOPHER 


REMOTE  CONTROL  —  Oswald  Rabbit 
builds  a  radio  "Personality  Changer"  that 
alters  personalities  with  the  twist  of  a 
dial.  A  mischieveous  neighbor  turns  it  on 
Oswald  for  laughs.  Catalog  No.  23-A. 


DOG  TEAM  RACE — Oswald  enters  dog- 
team  race  against  superior  competition. 
But  the  way  he  wins  in  a  whirlwind  fin- 
ish over  his  tricky  opponents  is  a  sur- 
prise. Catalog  number  1-A. 


OSWALD'S  GOOFY  GOPHER — Oswald, 
as  pest  extermmator,  gets  call  from 
Madame  Hen  to  rid  her  garden  of  a  mis- 
chieveous gopher.  But  when  Oswald  ar- 
rives, gopher  plays  tricks.  Cat.  No.  22-A. 


On  Sa/e  at  Photo  Dealers  or  write  .  .  . 


HOLLYWOOD  FILM  ENTERPRISES,  INC 


6060  SUNSET  BOULEVARD 


HOLLYWOOD,  CALIF. 


MAGAZINE 


Subscription 
Order  Form 


.DVISORY  EDITORS 


.  K.  BAUMGARDNER 

Peoria  Cinema  Club 

-TCR  BEZEK 

Chicago  Cinema  Club 

'^ES  BIALSON 

■rmateur  Motion  Picture  Clob  of  St.  Louis 

MOSS  BROWN 

Daiias  Cinema  Club 

ALTER  BRACKEN 

The  8-16  Movie  Club.  Philadelphia,  Pa. 

.  EMERSON  CLYMA 

Detroit  Society  of  Cinematoqrapher* 

iSSELL  A.  DIXON 

PHtsburgh  Amateur  Cinema  Club 

IyRIL  DVORAK 

Suburban  Amateur  Movie  CIl  ; 

{THUR  E.  GIBBS 

Portland  Cine  Club 

« '  A.  HOOK 

Seattle  8mm  Club 

.PRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

-:  NESTELL 

Cinemen  Club 

^RCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 


LBERT  B.  PETERSON 

Metropolitan  Cine  Club 

THEO.  ROTH 

Sherman  Clay  Movie  Club 

O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

PAUL  SNYDER 

Norfolk  Amateur  Movie  Club 

ED  E.  SNYDER 

Oes  Moines  Y.M.C.A.  Movie  Club 

F.  SISSEL 

Austin  Movie  Club 

IRTIS  O.  TALBOT 

Metro  Movie  Club  of  Chicago 


. nome  

MOVIES 


•  Lloyd  Bjcon.  sponsor  of  top 
trophy  jujrj  in  Home  Moiies' 
Annual  Amateur  Con f eft. 


Rtg.  u.  s.  r»t.  Off. 


red  as  Second-Class  Matter,  May  6.  1938.  at 
Poitoffice  at  Los  Angeles.  Calif.,  under  the 

Act  of  March  3,  1879. 
cription  rates:  U.  S.  $2.50  per  year.  Single 
es    2Sc.     Adverising    rates    on  application. 


Copyright  1942  and  published  monthly  by  Ver  Halen 
Publications.  Hollywood.  Calif.  No  part  of  magazirie 
may    be    reprinted    without    specific  permission. 

MembtT  Audit  Bitrttu  of  CiTC-ulationt 

CONTEXTS  FOR  NOVEMBER.  1942 


INFORM.\TION'  PLE.ASE 
THE   RE.\DER   SPE.\KS  _ 


REVIEW  S  OF  .AM.ATEL'R  FILMS  By   J.  H.  Schoert 

SLCCESSFUL  CLUB  PROGR.Wt  IDE.\S  


BL'iLD  CONTINUITY  .\s  YOU  SHOOT — By  Geofge  W.  BromfielJ. 

THE  WINNERS — in  home  movies'  annual  amateur 

CONTEST — By  J.  H.  Schoen  

MOOD  MUSIC  FOR  YOUR  MOVIES — B>  Robert  E.  Johnson  

«  HY  did.n't  mv  film  vtin.' — 6>  /.  H.  Schoen  


BACKGROUND  FACTS  FOR  TITLE  M.AKERS  B^  GcOrge  W.  Cushmatt 

HO«  «"E  MADE  A  SOUND  FILM — By  Harry  Hilfinger  .^^  

S.ALVAGE  THOSE  OVER-  OR   UNDER  EXPOSED  SHOTS 

— By  Stanley  E.  AnJreus 

TODAYS  MOVIES,  OUR   FUTURE  HISTORY  BOOKS  B}    Jack.  Irtlin 

THE  EXPERIMENT.AL  CINE  WORKSHOP  

IF   YOU   W.AXT  .\   FILM   TO  SHO^T  


EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS 
FILM    EMULSION    RATING  CH.\RT  


TITLE  TROUBLES — Bi  George  W.  Citshman 
HOME  MOVTE  TITLES — By  EdmuTid  Turner  


414 
416 
418 
419 
421 

422 
424 
425 

426 

427 

428 

429 
430 
432 
437 
440 

443 

443 


CHAS.  ).  Ver  HALEN 

PUBLISHER 


C.  ).  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard.  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Cellert.  62  West  45th  Street 
Vanderbilt  6-5254 


NOVEMBER 

042 

N  U  M  B  E  R  1 1 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  CAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
).  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S        MAGAZINE        FOR       THE        MOVIE  AMATEUR 


PACE  414 


HOME  MOVIES  FOR  NOVEMBER 


THE  MOST  ^^lormation  nun 

FOR  YOUR 

MOVIE 
MONEY 


Measured  In  terms  of  what  you  get  for 
what  you  pay  KIN-O-LUX  MOVIE  FILMS 
prove  their  except'iortal  value  by  a  speed 
and  latitude  that  "gets"  the  picture  and 
a  projection  quality  that  "gives"  finer 
results  and  a  more  complete  enjoyment  in 
motion  picture  making.  Be  critical.  Prove 
this  to  yourself. 

KIN-O-LUX 

MOVIE  FILMS 


INDOOR  ONLY 

KIN-O-LUX  GOLD  SEAL 
Wetton  100;  Scheiner  W° 
(No  Outdoor  ratings) 


OUTDOOR 

XIN-O-LUX  No.  2 
Weston  12;  Scheiner  20° 


INDOOR-OUTDOOR 

KIN-O-LUX  No.  3 
Weiton  50;  Tung.  40 
Scheiner  2i°;  Tung.  24 


OUTDOOR 

KIN-O-LUX  No.  I 
Weston  8;  Scheiner  18° 


Go  to  your  dealer  today.  Ask  for  KIN-O- 
LUX  FILMS  in  the  size  and  footage  you 
require.  They  are  still  available.  If  your 
dealer  cannot  supply  you  (the  demand 
grows  greater  every  day)  go  to  another 
nearby  dealer  or  write  directly  to  us. 

KIN-O-LUX,  Inc. 

Dept.  H1 1  .  105  W.  40  ST.  •  NEW  YORK  CITY 


Loop  Loss  (Raymond  R.  Rutledge, 
Wilmington,  Del.) 

Q.  1  have  a  400  /oo/  reel  of  i6mm. 
film  accumulated  over  several  years. 
Naturally  there  are  a  great  many  splices 
in  it.  Whenever  this  film  is  projected 
it  continually  loses  loops,  making  it 
necessary  to  stop  the  projector  a  dozen 
times  or  more  and  rethread  the  film, 
f  lease  explain  what  causes  this. 

A.  It  is  difficult  to  diagnose  your 
trouble  without  seeing  the  film.  Loop 
loss  is  attributable  to  two  causes — film 
nhrinkage  and  bad  splices.  Both  interfere 
with  proper  passage  of  film  through 
the  film  gate.  The  intermittent  claw 
fails  to  connect  with  a  sprocket  hole 
when  the  film  is  momentarily  slowed  by 
a  bad  splice  or  where  the  film  shrinkage 
is  great.  If  your  trouble  is  splicing, 
would  suggest  resplicing,  taking  care  to 
match  up  sprocket  holes  and  using  the 
minimum  of  cement.  If  shrinkage  is  the 
cause,  a  film  laboratory  may  be  able  to 
remedy  this  by  washing  the  film  in  wa- 
ter and  allowing  it  to  dry  normally. 

Film  Curtailment  (J.  F.  Ross,  Cin- 
cinnati, Ohio.) 

Q.  7s  it  true  the  Government  will 
soon  stop  production  and  sale  of  Smm. 
and  16mm.  film  for  the  amateur? 

A.  No  one  knows  the  real  answer  but 
Uncle  Sam.  As  the  Government's  de- 
mand for  1 6mm.  film  increases  for 
training  film  use,  it  is  natural  to  ex- 
pect some  curtailment  in  the  amount 
of  film  allowed  amateurs.  So  far  there 
are  no  definite  indications  one  way  or 
another — only  rumors. 

Processing  (H.  V.  Hardin,  No.  H©1- 
lywood,  Calif.) 

Q.  Do  all  film  processing  laboratories 
do  dependable  work — that  is,  do  they 
process  film  one  certain  way,  or  is  it  pos- 
sible for  them  to  partially  correct  faults 
tn  exposure? 

A.  "We  are  not  familiar  with  the  work 
of  all  laboratories.  However,  it  is  well 
known  that  companies  like  Eastman  and 
Agfa  have  the  most  advanced  machine 
processing  equipment  which  features  an 
automatic  control  that  compensates  for 
a  reasonable  amount  of  under-  or  over- 
exposure. 

Club  Production  (Ray  Stewart,  New- 
ark, N.  J.) 

Q.  Our  club,  about  to  start  a  new 
scenarized  film  production,  would  like 
your  opinion  as  to  the  most  important 
things  to  be  considered  in  producing  a 
club  film? 


•  Readers:  Thii  department  /i  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  eniclope. 


A.  That's  a  pretty  big  order,  for  in 
our  opinion,  all  phases  of  production 
are  important.  However,  from  observa- 
tion of  many  amateur  scenario  films 
that  have  come  to  our  attention,  we'd 
say  ample  time  and  study  should  be 
given  the  story  and  preparation  of  the 
shooting  script.  Next,  persons  should 
be  assigned  to  the  cast  who  really  have 
some  dramatic  or  acting  ability.  Your 
story  may  be  good,  but  it  will  fail  to 
register  on  the  screen  if  actors  can't 
put  across  their  characterizations  effec- 
tively and  sincerely.  A  great  deal  of  the 
actor's  success,  of  course,  depends  up- 
on good  direction. 

Contest  (Errol  Chase,  Boston,  Mass.) 

Q.  What  is  meant  by  "Uncut  film 
contest?" 

A.  An  uncut  film  contest  is  where  a 
group  of  amateurs  set  out  to  produce  a 
complete  continuity  in  a  50  or  100  foot 
roll  of  film  and  which  must  be  com- 
plete in  continuity  without  resorting 
to  editing,  cutting  or  insertion  of  titles. 
All  scenes  must  be  shot  in  regular  order 
and  allowed  the  right  amount  of  foot- 
age. Descriptive  titles,  if  any,  must  also 
be  filmed  at  the  proper  place  in  the  film. 

A  contest  of  this  kind  is  valuable 
for  sharpening  skill  of  the  filmer,  teach- 
ing him  to  shoot  scenes  with  an  eye  to 
editing. 


INCREASE  YOUR  FUN 
by  learning  to  process  your  own 
movie  films.  It's  easy  and  productive 
of  real  enjoyment.  "How  To  Re- 
verse Movie  Film,"  published  by 
HOME  MOVIES,  is  the  leading  text- 
book in  this  field  for  the  amateur. 
It  illustrates  and  describes  how  to 
build  home  processing  equipment; 
gives  all  popular  reversal  formulas 
and  tells  how  to  intensify  or  reduce 
over-  or  under-exposed  films.  It's  a 
valuable  addition  to  your  hobby  li- 
brary. Send  50  cents  today  to  HOME 
MOVIES.  6060  Sunset  Blvd..  Holly- 
wood, Calif.  Your  copy  of  "How  To 
Reverse  Movie  Film"  will  arrive 
promptly,  postpaid. 


HOME  MOVIES  FOR  NOVEMBER 


PAGE  415 


ALL  THIS  IN  ONE 
HISTORIC  FILM! 

ir  YANKS  FIGHTING  'ROUND  GLOBE! 
^  RUSSIA'S  HEROIC  STAND! 
ic  BATTLE  OF  ATLANTIC! 
^  DIEPPE:  PRELUDE  TO  SECOND  FRONT! 
^  JAPS  BOMB  ALASKA 

ir  MIDWAY  VICTORY  FILMED  BY  COMDR.  FORD! 
★  BRAZIL  WARS  ON  AXIS! 
ir  U.  S.  MARINES  SMASH  JAPS  IN  PACIFIC! 


Subject  to  change  if  warranted 
by  last-minute  events. 


The  only  complete  and  au' 
thentic  8  mm.-l  6  mm, 
movie  record  of  the  entire 
year— costs  less  than  un- 


r 


See  the  tumult  of  a  tortured  world!  See  stupendous 
events  that  dwarf  all  past  history!  See  the  clash  of  ar- 
mies! The  earth-shaking  meetings  of  men!  Defeats  and 
victories!  Grim,  gripping  action  scenes  on  your  own 
screen!  Here  is  a  great  historic  document  that  every 
projector  owner  should  possess!  Don't  wait!  Send  THE, 

ORDER  FORM  BELOW  TO  YOUR  DEALER  TODAY! 


•ORDER 


Send  Castle  Films'  "NEWS  PARADE  OF 
THE  YEAR"  (1942)  in  the  size  and 
length  checked. 

Name  


Addrets- 
CHy  


Sfofe- 


RUSS  BLDG. 


Remittance  enclosed  Q 


 H  M  - 1 1 A 

Ship  C.  O.  D.  a 


6  mm. 

eieadline  $1 

50  Feet  I'fO 

Complete  $C  Cf\ 
180  Feet  •J'-JVf 

16  mm. 

Kleadlrne  $0  •/£ 
100  Feet  -* 

Complete  $Q 
360  Feet 

Sound    %jy  C(\ 
350  Feet 

SAN  FRANCISCO     L-_--___-_____^L'J™rjr-.l"«-__,-. .--J 


PACE  416 


HOME  MOVIES  FOR  NOVEMBER 


Its  a 

BIG  HIT 

m'fh  P/iofv  fvns/ 

THE  NEW 

G-E 

PHOTO  DATA  BOOK 

(more  fhan  50,000  of  the  1940  edition 
in  use) 

New    1942    edition,    completely  revised, 
now  ready! 


1 


TELLS  how  to  get  more  out  of 
your  meter  for  movies  or  "stills". 

SUGGESTS  easy  way  to  correct 
F-stop  value  for  extreme  close- 
ups. 

EXPLAINS  how  to  make  "stills" 
by  metered  flash,  and  how  to 
control  background  emphasis. 

#  You'll  like  this  handy  guide  to  better 
pictures!  Its  112  pages  are  full  of  prac- 
tical picture-making  tips,  useful  tables, 
essential  technical  data,  and  helpful  sug- 
gestions covering  all  angles  of  black- 
and-white  and  color  photography.  Actual 
size,     by  5  inches. 

Includes  film  speeds,  movie-camera  shut- 
ter speeds,  developing  formulas,  correct 
flash  exposures,  paper  and  film  speeds, 
filter  factors,  and  other  data  essential  to 
gor)d  picture  making.  Fifty  cents  at  your 
dealer's.  General  Electric  Company, 
Schenectady,  N.  Y . 

*        ★  ★ 

If  your  dealer  cannot  now  sup- 
ply you  with  a  G-E  exposure 
meter,  here's  the  reason:  Ma- 
terials and  facilities  are  need- 
ed to  produce  equipment  for 
our  armed  forces  and  vital 
war  industries  Our  efforts 
are  being  expended  to  speed 
VICTORY  for  the  United  Na- 
tions. We  know  you'll  un- 
derstand. 


The  Reader 


Sound  Fan 

We  knoiv  the  response  this  reader  will 
get  from  bis  letter,  for  the  fraternity 
of  dabblers-in-sound  has  grown  by  leaps 
and  bounds  during  the  past  six  months: 

Dead  Editor:  I  have  been  getting 
much  "meat"  out  of  Home  Movies 
and  I  think  my  films  the  past  year  show 
much  improvement  over  previous  ones 
due  to  the  tricks  and  hints  picked  up 
from  your  magazine. 

I  have  been  experimenting  with  mak- 
ing recordings  to  go  along  with  the 
showing  of  my  films.  These  mainly  con- 
sist of  musical,  sound  effect  and  narra- 
tive with  no  attempt  made  at  split-sec- 
ond synchronization.  I  would  like  to 
hear  from  other  home  movie  fans  who 
are  dabbling  along  the  same  lines.  I  also 
have  actual  sound  effects,  musical 
themes  and  fanfares,  etc.,  to  exchange 
with  other  amateur  recorders. — Milton 
R.  Grady,  1820  2nd.  Ave.,  Des  Moines, 
Iowa. 

Titling  Problems 

Here's  an  interesting  comment  from 
a  reader  that  ought  to  bring  interesting 
response  from  those  amateurs  who  reg- 
ularly film  their  own  titles.  Your  com- 
ments and  opinions  on  this  question  are 
invited: 

Gentlemen:  In  your  September  issue 
an  article  appears  on  the  subject  of 
titling,  written  by  Stanley  Andrews. 
In  column  2,  page  367,  it  is  stated  that 
•  the  distance  from  title  card  to  the  cam- 
era should  be  measured  from  title  card 
to  camera  lens  when  an  auxiliary  lens 
is  used. 

My  optometrist,  who  is  quoted  as  an 
authority  on  lenses  by  General  Electric 
Science  Forum,  says  that  the  measure- 
ment must  be  determined  from  title 
card  to  center  of  the  concave  side  of  the 
auxiliary  lens  instead  of  the  camera 
lens.  Who  is  right? — F.  M.  Spoonagle, 
AI plans.  N.  Y. 

Film  Exchange 

There  is  little  doubt  but  what  other 
clubs  will  readily  take  advantage  of  the 
Seattle  Movie  Club's  offer  to  exchange 
films.  This  is  an  activity  that  should  be 
participated  in  by  all  responsible  ama- 
teur clubs.  Other  clubs,  willing  to  ex- 
change or  loan  films,  will  always  find 
these  columns  open  to  them: 

Gentlemen:  The  Seattle  Amateur 
Movie  Club  is  interested  in  extending 
its  exchange  list  and  would  appreciate 


SPEiKS 


the  names  of  two  or  three  well  estab- 
lished amateur  clubs  willing  to  send  us 
one  reel,  either  8mm.  or  i6mm.  per 
nionth  in  exchange  for  similar  film 
from  us. — W .  B.  Bowden,  Secy. 

Swappers 

Gentlemen:  I  would  like  to  contact 
someone  who  would  film  about  50  feet 
of  8mm.  Kodachrome  of  Pittsburgh, 
Pa.,  and  the  Turnpike  Highway  for  me. 
Would  also  like  a  few  shots  of  Ticonde- 
roga,  N.  Y.,  and  a  sunset  at  Burling- 
ton, Vt.  Will  shoot  equivalent  footage 
in  this  area  in  exchange. 

— Donald  N.  Walter, 

714  Columbia  St.,  Aurora,  III 

Dear  Sirs:  Am  anxious  to  obtain 
8mm.  Kodachrome  pictures  of  relatives 
living  in  Trinidad,  Colorado,  and  Port- 
land, Oregon.  Interested  parties  are 
urged  to  communicate  with  me  at  once. 

— Harry  H.  Dintelman, 

14716  Lincoln  St.,  Hariey,  III. 

Dear  Editor:  I  wish  to  contact  a 
1 6mm.  Reel  Fellow  or  other  amateur 
filmer  who  can  supply  me  with  original 
Kodachrome  footage  of  the  following 
jfMaskan  scenes:  Mt.  McKinley,  mid- 
night sun  on  the  Yukon,  midnight 
baseball  games  in  Fairbanks,  big  game 
hunting,  salmon  in  rapids,  and  views  of 
Sitka,  Wrangell,  Metlakatla,  Craig,  Kla- 
wock  and  Kake. 

— /.  Albert  ParaJis,  Jr.,  R.  F., 
gg  Spring  St.,  Springfield,  Mass. 

Gentlemen:  Wish  to  contact  Reel  Fel- 
lows or  other  movie  amateurs  who  may 
have  made  i6mm.  movies  of  the  parade 
of  old  hand  pumper  fire  apparatus 
which  was  held  in  Boston  about  a  year 
ago. 

— W.  A.  McDonnell, 

1 53 1  Suitzer  Aie.,  St.  Louis.  Mo. 

Gentlemen:  I  have  a  100  ft.  roll  of 
1 6mm.  extra  Kodachrome  scenes  of 
night  life  on  Hollywood  Blvd.  before 
the  Dim-out  showing  neon  signs  of 
Night  Spots,  Studios,  Motorcycle  Hill 
climb,  etc.  These  are  •  all  perfectly  ex- 
posed extra  shots  that  I  cannot  use  in 
a  reel  that  I  am  completing  and  could 
be  used  to  advantage  in  some  Amateur's 
Color  News  Reel.  Will  swap  or  trade 
for  1 6mm.  Kodachrome  shots  of  New 
York  City,  showing  buildings,  traffic, 
etc. 

— Lto  Caloia, 

14}  W.  Ate.  li,  Los  Angeles,  Calif. 


and  on  uMi/  vMMnaJ  ondBimidau 


CAMERA 


Same  as  "88"  plus  turret 
head  arid  extra  optical 
view-finder.  With  one  Wol- 
lensak   f  2.5   lens,  $77.50. 


LONG  after  the  Christmas  tree  has  faded  and  the  bright 
trimmings  have  been  put  away,  Revere  8  mm.  Movies, 
in  sparkling  black  and  white  or  brilliant  full  color  Koda- 
chrome,  will  bring  back  all  of  the  exciting  details  of  this 
happy  occasion.   Anyone  can  take  fine  movies  with  the 
Revere  8  mm.  Camera.  Just  look  through  the  built-in 
: optical  view-finder  and  press  the  button!  What  you 
I  see,  you  take.  Five  speeds  for  slow  motion,  normal 
action  or  ultra-fast  comic  effects.  A  precision-built 
mechanism.  An  exclusive  reciprocating  sprocket  for 
steady  pictures.  These  and  other  advanced  features 
combine  to  give  you  the  finest  and  clearest  home 
movies  that  you  have  ever  seen.  The  precision  built 

Revere  projector  shows 
these  movies  at  their  best. 
Revere  Camera  Company, 
Chicago,  Illinois. 


^  U/AD  CAVI 


U.  S. 

WAR  SAYINGS 

BONDS  and  ^ 
^  STAMPS  ^ 


85"  PROJECTOR 

has  duo-shield  light  diffuser,  beam  thre 
light,    micro-tilt    and    deluxe  carrying 
Complete  with  500-watt  lamp,  f  1 .6  lens 
300  ft.  reel  and  case,  $89.50. 


ading 
case, 
one 


PAGE  418 


HOME  MOVIES  FOR  NOVEMBER 


AT  LAST 

Practical  Sound  Movies  With 
ANY  Size  Film! 


Revealed  By  a  Sound  Engineer 
In  This  Amaxing  Book  .   .  . 


SOUND 
ADVICE 


A  Book 
Explaining  How  You 
Can    Make  Sound 
Movies    with  Any 

Projector 


includes  Such  Priceless 
Chapters  As  .  .  . 

"Synchronized  Sound  Movies  WITHOUT 

a  Recorder"  {Two  Perfect  Methods  .  .  . 

Including  a  complete  shooting  script) 
"Synchronized    Sound    Movies   WITH  a 

Recorder" 
"How  To  Build  a  Recorder  for  $25" 
"How  To   Connect  Your  Record-player 

to  Your  Radio" 
"How  To  Build  Dual  Turntables" 

Answers  Questions  You've 
Asked  for  Years  .  .  . 

"How  To  Check  Your  Projector's  Speed" 
"How  To  Make  a  Recorder  Cut  at 

33-1.3  RPM" 
"How  To  Make  a  Recorder  Cut  a  12" 

Record" 

"How    To    Connect    a    Microphone  To 

Your  Radio" 
"All  About  Stroboscopes" 

No  Extra  Equipment  Needed. 
Guaranteed  Practical  Sound 
Movies  the  Instant  You've 
Read  the  Book! 

Price  .  .  .  only  $1.00 

(Worth  Ten  Times  As  Much) 
Supply  Is  Limited  ...  SO  HURRY! 
ORDER  DIRECT  FROM 

"Sound  Advice" 

Box  19,  Burnet  Woods  Station 
CINCINNATI,  OHIO 


CUT  HOME  MOVIE  COSTS 

with  BLACK  tntf  WHITE  flM 
train  8Miil-0rtliMttr»a«tlt  Ht- 
vtrtlbli  Film  It  fliMt  rttultt — 
lewett  tost. 

16inm.  Reversible 
Outdoor  Film 

100-ft.  Roll,  only  $2.50 

Rating  8ch«lner  It 

18mm.  Reversible  Outdoor  Film 
25  ft.  Double  8,  only  $1.25 

16mm.  Projection  Reel— 200 
ft.  reel — 35c  each. 
Minimum  order  6  reels. 

Write  tor  prices  for  develop- 
ing and  processing  for  8mm. 
and     16mm.     films  bought 
elsewhere. 

VISUAL  INSTRUCTION  SUPPLY  CORP. 

1757  BtMdway,  Deot.  12         Brtekly*.  N.  Y. 


REVIEWS... 


of  c4ntateur  (ilnt^ 


B  y 


S        C        H        0        E  N 


We'D  like  to  review  here  all  of  the 
films  submitted  in  Home  Movies'  1942 
Amateur  Contest,  but,  of  course,  lim- 
ited space  makes  this  impossible.  There- 
fore we  shall  review  a  few  of  the  films 
selected  at  random  and  will  endeavor 
to  review  as  many  of  the  others  as  pos- 
sible in  succeeding  issues. 

^^Oh  Doctor"  failed  to  place  in  the 
contest  only  because  there  were  too 
many  other  films  just  a  little  bit  better 
that  displaced  it.  It's  potential  prize 
stuflf  just  the  same  and  qualifies  for  a 
3 -star  merit  leader.  Running  200  feet 
in  8mm.  black  and  white,  it  wa«  pro- 
duced by  Bill  Russ  of  New  York  City 
who  also  plays  the  leading  part. 

Story  concerns  a  wacky  character 
who  visits  a  doctor's  office  in  search  of 
dope.  Refused  narcotics,  the  man  sub- 
mits to  a  physical  examination.  Excited 
by  a  pair  of  pretty  legs,  the  fellow  swal- 
lows the  doctor's  thermometer.  Doctor 
decides  to  operate  and  here  is  introduced 
clever  cinematic  technique  wherein 
closeups  of  the  incision  in  the  patient's 
flesh  is  faked  with  the  use  of  the  carcass 
of  a  dressed  chicken.  After  operation  is 
completed,  doctor  discovers  he  left  in- 
strument in  patient's  stomach,  must 
operate  again. 

Patient  revolts,  declares  this  time 
he'll  operate,  and  pursues  the  doctor. 
Catching  and  preceding  to  choke  him, 
nurse  comes  to  the  rescue,  knocking  out 
the  crazed  patient  with  a  broomstick. 

Commendable  is  the  good  photog- 
raphy, interior  lighting,  and  titling. 
Story  is  highlighted  by  many  comedy 
gags  and  clever  dialogue,  and  skilled 
cutting-in  of  spoken  titles  increased 
comedy  effect. 

^^Elmer  Came  To  Dinner"  is  anoth- 
er 8mm.  black  and  white  comedy  film 
but  its  effectiveness  is  lost  somewhere 
about  the  middle  of  the  reel  where  the 
producer  evidently  lost  track  of  his 
plot. 

Running  150  feet  in  length,  picture 
was  produced  by  E.  E.  Leonhart  of 
Piedmont,  Calif.  A  foreword  reminds  us 
of  familiar  meal  time  morons  whose 
table  manners  are  nil  and  states  the  pic- 
ture shows  how  one  couple  handle  them. 
However,  it  is  difficult  to  tell  from  the 
picture  which  of  the  two  men — the 
host  or  his  guest — are  the  most  offen- 


•  All  amateurs,  whether  subscribers 
to  HOME  MOVIES  or  not,  are  invited 
to  submit  their  films  to  the  editors 
for  review  and  helpful  criticism. 

Reviewed  films  will  be  rated  one, 
two  three,  and  four  stars,  and  films 
qualifying  for  two  or  more  stars  will 
receive,  free,  an  animated  leader. 

Exceptional  films  qualifying  for 
the  distinction  of  the  "Movie  of  the 
Month"  win  be  treated  in  detail  in 
a  feature-length  article  in  a  follow- 
ing issue  of  HOME  MOVIES.  In  ad- 
dition, a  certificate  evidencing  the 
award  of  "Movie  of  the  Month"  and 
a  special  animated  "Movie  of  the 
Month"  leader  will  be  returned  with 
such  films  after  review. 


sive  as  both  are  shown  in  .questionable 
table  behavior. 

Briefly  the  picture  opens  with  a 
couple  impatiently  awaiting  arrival  of 
guests,  a  man  and  wife.  They  arrive 
and  are  seated  at  dinner  table.  Food  is 
brought  and  the  host  wolfs  stalk  after 
stalk  of  celery  while  his  male  guest  is 
shown  sparring  with  a  roast  squab.  In 
the  end  its  the  guest  who  becomes  irri- 
tated by  his  host's  table  manners. 

Photography  is  good,  so  is  cutting 
and  titling.  Particularly  commendable 
was  treatment  of  table  scenes  in  close- 
ups.  Main  fault  with  this  picture  was 
lack  of  clarity  in  story.  It  has  been 
awarded  a  2 -star  merit  leader. 

^^The  Toy  Party,"  running  150  feet 
in  8mm.  Kodachrome,  was  filmed  by  Jo- 
seph McDermott  of  West  Haven, 
Conn.,  and  is  essentially  a  movie  record 
of  a  family  Christmas.  To  provide  some 
element  of  continuity  for  the  record  as 
a  whole,  this  filmer  begins  picture  with 
good  main  and  explanatory  titles,  fol- 
lowed by  scenes  of  toys,  dolls,  etc.,  in 
animation.  Dolls  suggest  putting  on  a 
show,  and  a  demonstration  of  mechan- 
ical dolls,  toys,  etc.,  follows.  A  spoken 
title  indicates  they  pause  in  their  cele- 
bration to  look  down  upon  the  earth  be- 
low. They  see  Santa  Claus  packing  his 
toy  sacks  and  go  out  into  the  night  to 
distribute  toys.  Following  this  are  inti- 
mate scenes  of  the  family  gathered 
about  the  tree  opening  gifts,  then  eating 
Christmas  dinner,  etc. 

Commendable  is  animation  work,  in- 
•  Coninued  on  Page  442 


HOME  MOVIES  FOR  NOVEMBER 


PACE  419 


Succe^^ul  Club  Prog^ram 

IDUS 

>y/iat  progressive  cine  clubs  are 
doing    to    stimulate    member  interest. 


Service  to  Shut-Ins 

Early  in  the  year  we  had  the  happy 
thought  that  there  are  in  homes,  hospi- 
tals and  various  institutions  those  un- 
fortunates who  because  of  disability, 
etc.,  never  get  to  the  outside  to  be  en- 
tertained by  moving  pictures.  We  real- 
ized that  among  our  members  we  could 
find  sufficient  material  for  the  enter- 
tainment of  these  persons  by  using  our 
own  travel  films,  comics,  and  the  like 
to  institute  a  program  of  "Movies  for 
Shut-ins."  During  the  year  we  enter- 
tained upwards  of  two  dozen  organiza- 
tions. Our  programs  were  well  received 
and  our  efforts  were  well  paid  for  by  the 
joy  we  brought  to  many.  In  the  coming 
year  we  hope  to  reach  more  people  than 
we  did  in  our  initial  effort. 

— North  End  Cinema  Club 
Pittsburgh,  Pennsylvania 

Filter  Program 

Our  outstanding  program  of  last  year 
was  a  discussion  on  the  practical  vise  of 
filters.  One  of  our  members  spoke  oi 
and  demonstrated  the  use  of  filters  in 
cloud  photography,  pseudo-night  scenes 
and  the  application  of  the  pola-screen 
in  black  and  white  and  color  photog- 
raphy. Of  special  interest  was  a  200-ft. 
picture  which  accompanied  the  talk. 

— Suburban  Amateur  Movie  Club 
Berwyn,  Illinois 

Group  Demonstrations 

We  have  organized  our  club  into 
groups  to  work  out  in  laboratory  ses- 
sion certain  phases  of  the  home  movie 
hobby.  These  projects  include  such  pro- 
cesses as  reversal  technique,  various 
types  of  titling,  etc.  After  working  out 
the  problem  in  the  laboratory,  the  group 
gives  a  practical  demonstration  before 
the  entire  club.  This  plan  has  given  us 
several  outstanding  programs  during 
the  year. 

— Stamford   Cinema  Club 
Stamford,  Connecticut 

Lecture  Programs  Best 

The  outstanding  programs  we  have 
had,  judging  by  unanimous  opinion 
of  members,  have  been  the  two  lectures 
given  by  a  representative  of  an  exposure 
meter  manufacturer  on  the  use  of  ex- 
posure meters  and  a  talk  given  by  one 


of  our  members  on  titling  equipment 
and  the  method  of  making  titles. 

— Union  County  Cinema  Club 
Elizabeth,  New  Jersey 

Shooting  a  Script 

It  seems  to  be  the  consensus  of  opin- 
ion that  our  most  interesting  program 
of  the  year  consisted  of  the  shooting 
of  a  complete  picture  at  one  of  our 
meetings.  We  had  prepared  a  script  and 
picked  the  actors  at  the  meeting  and 
completed  shooting  "The  Diary  of  the 
Condemned,"  including  titles.  The 
meeting  was  rather  lengthy  but  those 
present  stayed  until  the  end. 

— Norfolk  Amateur  Moiie  Cluh 
Norfolk,  Virginia 

Titling  Demonstration 

Our  most  interesting  program  was 
a  lecture  and  actual  demonstration  of 
title  making  and  title  film  developing, 
both  the  positive  and  reversal  method, 
presented  by  a  veteran.  Since  most 
members  were  rank  amateurs  when  the 
club  was  organized,  very  few  had  done 
any  actual  titling  and  editing  of  films, 
so  naturally  this  demonstration  remind- 
ed how  badly  their  films  needed  a  little 
work  done  on  them.  Dating  from  this 
demonstration  meeting,  100  per  cent 
improvement  can  now  be  seen  in  mem- 
bers' films. 

— Grand  Rapids  Amateur  Moiie  Club 
Grand  Rapids,  Michigan 

Ladies'  Night 

Since  we  are  just  in  the  process  of 
organizing  our  club,  we  have  as  yet  had 
no  meetings  we  could  call  outstanding, 
except  a  Ladies'  Night  event  at  which 
the  best  films  of  the  members  were 
shown.  The  meeting  served  to  give  the 
"other  half"  of  the  members'  families 
an  insight  into  home  movie  production. 

— Thompson  Cinema  Club 

North    Grosvenordale,  Conn. 

Making  Frame  Enlargements 

One  of  the  most  interesting  meetings 
of  our  club  was  one  in  which  a  dem- 
onstration was  given  of  making  frame 
enlargements  from  movie  films.  Re- 
^^'inders  and  enlargers  were  brought  to 
ih;  meeting  and  the  correct  procedure 
•  Continued  on  Page  442 


IMPROVED  MODEL! 

DA-SCOPE 
VIEWER 


FOR  VIEWING 
KODACHROME 
TRANSPARENCIES 


A  compact,  folding  "vest  pocket"  slide 
viewer  handsomely  made  of  unbreak- 
able red  and  white  plastic,  that  prac- 
tically makes  Kodachrome  stills 
'breathe." 

Here  are  a  few  of  its  features: 

Attractive  contrasting  colors. 

Longer  focus  lens  for  greater  coverage  of 

picture. 
No  distortion. 

Pictures  easily  slide  in  and  out. 
Storage  for  3  slides  in  cover. 
Transparent  cover  for  utmost  illumination. 
Weighs  only  two  ounces. 


*1 


95 


VICTORY 
TRIPOD 

$]500 


A  new  all-steel  tripod  designed  to  give 
maximum  satisfaction  when  used  with 
movie  or  still  cameras.  The  legs  are  of 
two-sectional  construction  giving  the 
tripod  extra  rigidity.  In  addition  the 
height  is  controlled  by  a  new  patented 
device  that  locks  the  legs  quickly  and 
securely  in  any  desired  position.  This 
is  accomplished  by  simply  twisting  the 
leg.  Fitted  with  non-skid  rubber  tips 
that  won't  mar  fine  floors.  These  tips 
are  removable  and  can  be  reversed, 
disclosing  needle  tips  for  outdoor  use. 
The  VICTORY  TRIPOD  is  equipped 
with  a  smooth  working  'pan  and  tilt' 
top.  A  long  handle  gives  it  added  con- 
venience and  facilitates  the  making  of 
skillful  panorama  shots. 
WEIGHT:  6  lbs.  10  oz. 
LENGTH:    Extended    60"    Closed  34" 

Mail  Orders  Filled 


no  West  32nd  Street,  N.  Y. 

Wo  'H'^  Largest  Camera  Store 
8ullt  on  Square  Dealing 


Information -To  Help  You  Score  More  Often 


IF  you  have  any  technical  photographic  questions  ...  or 
if  you  are  puzzled  about  any  of  your  screen  results,  per- 
haps we  can  help  you. 

Agfa  Ansco  maintains  an  information  service  for  you  to  use 
at  any  time  you  wish,  free  of  charge. 

We  hope,  particularly  in  these  times,  that  you  will  make  use 
of  this  service  so  that  every  one  of  your  scenes  will  be  usable. 
That  not  only  saves  your  money,  but  also  conserves  film. 

WHEN  SHOOTING  UNDER  POOR  LIGHT 

Meanwhile,  here  is  a  tip  for  shooting  indoors,  or  under  any 
poor  light  conditions,  or  when  you  are  using  slow  motion: 
Get  the  advantage  of  the  extreme  speed  in  Agfa  Ansco 
Triple  S  Pan  Reversible  Film.  Because  of  its  great  exposure 
latitude,  it's  also  an  ideal  film  for  use  under  changing  light 
conditions. 

In  addition,  you'll  find  that  the  Triple  S  Pan  emulsion  has 


remarkable  fineness  of  grain  for  so  fast  a  film,  as  well  as  a 

balanced  contrast  that  prevents  harsh  effects  when  your 
pictures  are  taken  with  artificial  light. 

Try  it.  And  address  your  technical  questions  to  Agfa  Ansco 
Information,  Binghamton,  New  York. 


Agfa  Ansco 

BINGHAMTON,  NEW  YORK 

FIRST  WITH  THE  FINEST  FILMS 

A  Century  of  Service 
to  American  Photography 


HOHE  M\m 

Published  in  Hollywood 
\OVEUBER  1942 


s. 


JPECIFICALLY.  there  are  two 
types  of  amateur  movies:  those  planned 
in  advance  and  shot  from  prepared 
scripts  and  those  filmed  as  we  go,  such 
23  vacation  and  travel  movies  and  fam- 
ilv  cine  fnapshots.  Vhat  makes  either 
of  them  interesting,  when  they  do  prove 
interesting,  is  continuity. 

Continuity-  means  that  a  picture  be- 
gins logically,  that  the  succeeding 
scenes  bear  close  relationship  with  one 
another,  and  that  the  whole  picture 
moves  forward  steadily  on  a  basic 
theme  or  plot.  Continuity  certainly  does 
have  a  place  in  the  making  of  the  sec- 
ond type  of  picture — the  unplanned  va- 
cation, travel  or  family  movie  filmed 
at  random.  Unfortunately,  this  fact  is 
too  often  disregarded  or  overlooked  en- 
tirely by  many  filmers. 

Rarely  does  the  average  amateur  on 
an  outing,  who  brings  along  his  cine 
camera  to  picture  his  trip,  ever  plan  his 
shooting  in  advance.  It  just  isn't  prac- 
tical to  do  so,  especially  if  the  places  to 
be  visited  are  unfamiliar.  But  this  fact 
needn't  prevent  picturing  the  travel  or 
vacation  in  such  a  manner  as  to  enable 
screening  it  as  an  interesting  continuity 
rather  than  a  reel  of  movie  snapshots. 
The  secret,  of  course,  lies  in  making 
shots  interesting  to  begin  with,  filming 
with  such  purpose  that  will  enable  these 
shots  to  be  arranged  in  sequences  to 
produce  a  continuity  that  will  capture 
and  hold  audience  interest. 

The  element  of  picture  continuity 
consists  of  a  series  of  scenes  that  em- 
brace a  complete  action  in  which  a  cli- 
matic point  is  reached  somewhere  in 
the  sequence.  The  climatic  point  may 
be  a  human  interest  shot,  a  vivid  close- 
up  or  a  dramatic  angle  shot,  or  a  shot 
of  spectacular  action. 

In  filming  children  or  babies,  movies 
will  prove  more  captivating  if  the  sub- 
ject is  filmed,  not  in  one  or  two  long 
shots  of  un-related  action,  but  in  a  se- 
quence of  shots — a  long  shot,  medium 
shot,  and  a  vivid  closeup.  For  example, 
introduce  subject  in  a  medium  long 
shot  toddling  across  the  scene  or  toword 
the  camera.  Move  in  for  a  medium  close- 


•  Moving  camera  in  close  for  an  interesting  shot  of  expressions  and  action  like 
this  is  a  good  way  to  climax  a  short  sequence.  In  unplanned  filming,  keep  close 
to  subjects  on  all  shots. 


BlILD  COSTIE'ITl 


IS  Ifll  SHOOT 


By  GEORGE  W 


BROMFIELD 


up  of  the  child  as  he  stops  and  smiles 
toward  some  object  out  of  scene.  Then 
make  this  shot  objective  by  cutting  to 
a  closeup  of  a  dog  or  kitten,  which  the 
child  obviously  sees;  then  back  to  the 
child  as  he  proceeds  toward  the  pet ; 
then  wind  up  the  sequence  with  a  close- 
up  of  a  child  as  he  picks  up  and  fondles 
the  pet.  Simple  isn't  it?  And  what  a 
difference  compared  to  the  usual  one- 
two-three  random  shooting  procedure 
usually  employed  in  filming  children. 
The  secret,  of  course,  is  to  make  the  pic- 
tured action  tell  a  stor}^ 

This  same  technique  should  be  fol- 
lowed in  filming  other  subjects.  The 
thing  to  keep  in  mind  is  that  closeups 
are  important  to  build  interest;  that  it 
is  necessar}'  to  lead  the  spectator  gradu- 
ally but  definitely  toward  the  subject  at 
hand  in  a  series  of  shots  that  increase 
in  interest  because  of  camera  angle  or 
action  depicted  therein. 

Far  too  many  amateur  movie  scenes 
are  made  in  long  shots,  not  enough  in 
closeups.  The  home  movie  screen  being 
considerably     smaller     than  theatre 


screens,  requires  that  the  subjects  of 
interest  occupy  the  greater  part  of  the 
screen.  Unless  there  is  something  unus- 
ually interesting  in  the  dress  or  costume 
of  the  people  we  film,  long  shots  of 
them  should  be  quite  short  and  where 
possible  eliminated  entirely.  It's  their 
faces  our  audiences  wish  to  see. 

The  illustration  at  top  of  this  page 
is  an  example  of  cine  composition 
that  makes  home  movies  interest- 
ing. Neither  a  long  shot  nor  closeup,  it 
nevertheless  brings  the  subjects  up  close 
to  us  on  the  screen,  enabling  a  study  of 
expression  and  action  which  motivate 
the  shot  and  which  definitely  would  be 
lost  in  a  long  shot. 

The  lack  of  closeups  in  home  movies 
marks  an  inexperienced  filmer  just  as 
we  find  the  owner  of  a  new  box  camera 
will  invariably  shoot  his  subjects  at  a 
distance  with  plenty'  of  foreground,  sky 
and  scenery  surrounding  them.  How- 
ever the  still  cameraist  has  one  advant- 
age not  available  to  the  cinefilmer.  He 
can  crop  or  trim  his  pictures  to  secure 

•  Continued  from  Page  439 


421 


.  ►  2nd  Award — Family  Fi!ms  Class:  "Letter  •   3rd  Award — Family  Films  Class:  "Con-  •   1st  Award — Documentary  Class:  "Whit 

'  To  Our  Daddy  Over  There,"  by  C.  A.  Thomas.  gratulations,"  by  A.  E.  Leonard.  Waters,"  by  C.  A.  Willis. 


THE  WlilERS 


J4ome  ^ovie^ 


cAnnual  c4mateur  Content 


[ERE  they  are!  The  best  ama- 
teur motion  pictures  of  1942 — winners 
of  Home  Movies'  1942  Annual  Ama- 
teur Contest. 

Topping  the  Hst  to  take  the  Lloyd 
Bacon  Trophy,  coveted  award  for  the 
best  picture  in  the  contest,  is  "War- 
riors of  Another  World,"  produced  by 
Dr.  Richard  L.  Cassell  of  Los  Angeles 
whose  picture  "Hummingbirds"  cap- 
tured first  place  in  the  1940  contest. 
Dr.  Cassell,  therefore,  becomes  the  sec- 
ond amateur  thus  far  to  twice  capture 
top  awards  in  Home  Movies'  Contests. 
Herman  Bartel  of  New  Rochelle,  N.  Y., 
set  the  pace  when  he  repeated  again  last 
year  with  first  place  in  the  Documen- 
tary Films  Class. 

All  awards  this  year  consist  of  tro- 
phies which  are  inscribed  with  the  lucky 
contestants'  names  plus  text  concerning 
status  of  their  pictures  in  the  contest. 
One  more  division  was  added  this  year 
— that  of  Forest  Defense  Films — for 


which  a  handsome  trophy,  a  plaque 
made  of  woods  native  to  Southern  Cali- 
fornia, was  contributed  by  the  U.  S. 
Forest  Department  through  Wm.  V. 
Mendenhall,  Forest  Defense  Coordina- 
tor. 

As  in  former  years,  trophies  have  also 
been  awarded  for  outstanding  achieve- 
ment in  the  fields  of  photography,  edit- 
ing, titling,  sound,  and  technical  ac- 
complishment. 

The  staff  of  Home  Movies  magazine 
and  Lloyd  Bacon,  Warner  Brothers  di- 
rector, are  happy  to  announce  the  win- 
ner of  the 

1942  Lloyd  Bacon  Trophy 

Warriors  of  Another  World — 800  feet 
1 6mm.  Kodachrome  production  by  Dr. 
Richard  L.  Cassell,  Los  Angeles,  Calif. 
Division  winners  are  as  follows: 

Scenario  Class 

J  St  Place:  Kita  of  Rocky  Ranch,  400 


feet  8mm.  black  and  white  by  Roland 
Ray,  Los  Angeles,  Calif. 

2nd  Place:  Latitude  26,  400  feet 
1 6mm.  black  and  white  by  Leo  Caloia, 
Los  Angeles,  Calif. 

3rd  Place:  Well  I'll  Be  .  .  .  ,  400  feet 
1 6mm.  black  and  white  by  Parkchester 
Cine  Club,  Bronx,  New  York. 

Family  Films  Class 

I  St  Place:  Tom  Sawyer,  550  feet 
8mm.  Kodachrome,  augmented  by  selec- 
tion of  orchestral  records,  produced  by 
J.  A.  Potter,  Berkeley,  Calif. 

2nd  Place:  Letter  To  Our  Daddy 
Over  There,  11^  feet  8mm.  Koda- 
chrome by  C.  A.  Thomas,  Salt  Lake 
City,  Utah. 

3rd  Place:  Congratulations,  100  feet 
8mm.  Kodachrome  by  A.  E.  Leonard, 
Arlington,  Va. 

Documentary  Class 

ist  Place:  White  Waters,  400  feet 
1 6mm.  Kodachrome  by  C.  A.  Willis, 
Merced,  Calif. 

2nd  Place:  Week  End  for  Three,  400 
feet  1 6mm.  Kodachrome  by  Richard 
Thiriot,  Salt  Lake  City,  Utah. 


422 


Award — Scenario  Class;  "Well  I'll 
,"  by  George  Kirstein. 


e  1st  Award — Family  Class:  "Tom  Sawyer, 
by  J.  A.  Potter. 


Award — Documentary  Class:  "Week 
Three,"  by  Richard  Thiriot. 


•  3rd  Award  —  Documentary  Class:  "Tiny 
Factories,"  by  W.  S.  Jennings. 


3rd  Place:  Tiny  Factories,  600  feet 
8mm.  Kodachrome  by  W.  S.  Jennings, 
Independence,  Mo. 

Forest  Defense  Films 

I  St  Place:  (only  award)  Carelessly 
They  Start,  125  feet  8mm.  Kodachrome 
by  J.  O.  McCracken,  Glendale,  Calif. 

Honorable  Mention 

Films  receiving  Honorable  Mention 
in  the  contest  are  listed  here  according 
to  alphabetical  order.  The  order  of  their 
listing  is  not  to  be  construed  as  indica- 
tion of  their  relative  merit  in  this  par- 
ticular division. 

Ardent  Amateur,  400  feet  8mm.  Ko- 
di.chrome  augmented  by  selection  of  or- 
chestral records,  produced  by  Mr.  and 
Mrs.  Al  Morton,  Salt  Lake  City,  Utah. 

Bet t as,  350  feet  i6mm.  Kodachrome 
by  John  Larson,  Brooklyn,  N.  Y. 

California-Oregon  Coastline,  400  feet 
16mm.  Kodachrome  augmented  by  se- 
lection of  orchestral  records,  produced 
by  Arthur  Faure,  Los  Angeles,  Calif. 
(See  Pg.  392, Oct.  '42  Home  Movies). 

Colorful  Borderlands  of  The  Color- 
ado, 700  feet  1 6mm.  Kodachrome  by 
R.  C.  Denny,  Fresno,  Calif. 

Do  It  Again  Harry,  800  feet  i6mm. 
Kodachrome  augmented  by  selection  of 
orchestral    recordings,    produced  by 
Herman  Barrel,  New  Rochelle,  N.  Y. 
(See  Pg.  573  Dec.  '42.  Home  Movies). 

Free  Week  End,  500  feet  8mm.  black 
and  white  by  Merwin  C.  Gill,  Los  An- 
geles, Calif. 


Greatest  Show  On  Earth,  200  feet 
8mm.  Kodachrome  by  Bruce  Johnson, 
Rockford,  111. 

In  Our  Garden,  250  feet  8mm.  Ko- 
dachrome by  Mildred  Caldwell,  Long 
Beach,  Calif. 

Madame  Hummer  At  Home,  800 
feet  1 6mm.  Kodachrome  by  Mrs.  War- 
ner Seely,  Cleveland,  Ohio.  (See  pg. 
313,  Aug.  '42  Home  Movies). 

Midiuinter  Night's  Dream,  400  feet 


1 6mm.  Kodachrome  by  Wal- 
ter Bergmann,  Mt.  Vernon, 
N.  Y. 

Mister  "X,"  175  feet  8mm. 
Kodachrome  augmented  by 
selected  orchestral  recordings, 
produced  by  Norman  L. 
Brown,  Glendale,  Calif. 

Moroccan  Cities,  400  feet 
1 6mm.  black  and  white  by 
Gwladys  Sills,  New  York 
City. 

Murder  By  Magic,  300  feet 
8mm.  black  and  white  by 
Ad-Libber  Productions.  (See 
Pg.  350  Sept.  '42  Home 
Movies  ) . 

Oliver  Twist,  4000  feet 
1 6mm.  black  and  white  by 
David  E.  Bradley,  Winnetka, 
111.  (See  Pg.  192,  May  '42 
Home  Movies). 

Picnic  Pest,  200  feet  8mm. 
Kodachrome  by  Louis  H.  Hippe,  North 
Hollywood,  Calif. 

Pottery  Making  As  a  Hobby,  400  feet 
1 6mm.  Kodachrome  by  V.  L.  Saint, 
Lyons,  Kansas.  (See  Pg.  387  Oct.  '42 
Home  Movies)  . 

Revelation,  400  feet  i6mm.  Koda- 
chrome by  H.  J.  Theiler,  Whitinsville, 
Mass. 

Six  To  Six  With  Baby,  200  feet  8mm. 

•  Continued  on  Page  441 


•  Dr.  Richard  L. 
Cassel  (left)  re- 
ceives congratula- 
tions and  Lloyd  Ba- 
con Trophy,  top 
award  in  Home 
Movies'  Annual 
Amateur  Contest, 
from  Lloyd  Bacon, 
ace  Warner  Broth- 
ers' motion  picture 
director.  Ceremony 
took  place  on  sound 
stage  where  Lloyd 
Bacon  was  direct- 
ing scenes  for  his 
current  production, 
"Action  On  the 
North  Atlantic." 


•  Carefully  chosen  musical  recordings  played  while  screening  films  add  much  to 
picture  presentation. 


HOME  MOVIES  FOR  NOVEMBER 


Fifth  Symphony  is  a  very  fast  allegro. 
The  second  is  slow  and  soothing.  The 
third  is  light  and  gay  and  the  fourth 
is  in  march  tempo.  Each  symphony  us- 
ually contains  contrasting  fast  and  slow 
tempos  and  often  the  music  of  one  sym- 
phony can  be  used  to  background  an 
entire  film. 

The  overture  in  many  instances  re- 
sembles the  symphony.  Some  are  com- 
plete in  one  or  two  12-inch  records 
while  many  run  three  to  five  records  in 
length.  Moods  in  overtures,  as  a  rule, 
remain  the  same.  There  are  exceptions, 
of  course,  as  in  the  case  of  Rossini's 
famous  William  Tell  Overture.  Here 
the  first  part  is  quiet  and  peaceful, 
symbolizing  dawn.  The  second  part  sug- 
gests a  storm  and  the  third,  calm  and 
peace  again.  The  fourth  and  final  part 


MOOD  mm  FOR  YOUR  MOVIES 


B  y 


So 


many  8mm.  and  i6mm. 
films  are  being  screened  these  days  with 
sound  and  musical  accompaniment  that 
more  and  more  amateurs  have  come  to 
recognize  the  tremendous  "lift"  sound 
gives  home  movies.  Result  is  that  near- 
ly every  serious  home  movie  filmer  is 
new  sound-minded  but  finds  his  ambi- 
tions thwarted  for  the  time  being 
through  inability  to  purchase  recording 
or  sound  equipment. 

However,  radio-phonographs  and 
turntables  are  now  to  be  found  in  a 
greater  number  of  homes  and,  for  those 
who  intend  to  buy,  such  equipment 
may  still  be  had  from  dealers.  Actually, 
a  simple  record  player  is  all  the  equip- 
ment required  by  the  amateur  who 
wishes  to  add  elemental  sound  to 
his  movie  screenings.  This  element- 
al sound  consists  of  music,  and  the 
right  music  played  during  the  pro- 
jection of  a  picture  produces  such  an  il- 
lusion of  real  theatrical  sound  that 
n;any  amateurs  are  content  to  arrange 
an  album  of  musical  recordings  for  their 
films  and  leave  the  addition  of  sound 
effects  and  narrative  for  future  experi- 
ment and  development.  Moreover,  em- 
ploying only  music,  there  is  none  of  the 
bothersome  synchronization  to  contend 
with  as  when  sound  effects  and  spoken 
commentary  are  made  part  of  the  sound 
presentation. 


H  N 


There  is  more  to  playing  music  with 
a  film  than  merely  placing  a  phono- 
graph record  of  one's  choice  on  the 
turntable.  Unless  the  selection  is  care- 
fully chosen  to  fit  the  mood  of  the  pic- 
ture or  of  the  particular  sequence  for 
which  it  is  intended,  the  effect  will  be 
lost  and  the  real  purpose  of  the  music 
nullified.  It  is  necessary,  therefore,  that 
the  amateur  have  a  reasonable  knowl- 
edge of  the  almost  unlimited  music 
available  to  him  in  the  form  of  phono- 
graph records,  the  content  of  the  rec- 
ords, and  the  mood  they  convey. 

Where  sound  is  to  consist  of  back- 
ground music  only,  it  is  first  necessary 
to  analyze  the  film  —  break  it  down 
(theoretically)  into  scenes  or  sequences 
according  to  mood — fast,  exciting,  gay, 
etc. — and  then  select  music  to  fit  each 
mood.  A  library  of  about  twenty  well 
chosen  records  should  supply  the  aver- 
age amateur  with  all  the  musical  ac- 
companiment needed  for  his  films. 

String  quartets  and  quintets,  choral 
music,  swing,  and  vocal  renditions  are 
not,  as  a  rule,  suitable  for  background 
music.  Orchestral  music  is  best  and  of 
this,  symphonies,  overtures  and  suites 
offer  the  best  material  to  choose  from. 

In  the  symphony,  each  movement — 
and  there  are  usually  three  or  four — 
represents  a  different  mood.  For  exam- 
ple, the  first  movement  of  Beethoven's 


is  opened  with  a  Swiss  trumpet  call  and 
continues  a  swift  and  exciting  pace.  It 
is  this  closing  of  the  William  Tell  Over- 
ture that  has  become  so  famous  as  back- 
ground music  for  many  "chase"  scenes 
in  motion  pictures. 

A  suite  is  best  classified  as  a  group 
of  folk  dance  melodies.  On  one  record 
we  find  quick  changes  in  moods  from 
jigs  to  gavottes,  minuets,  etc.  The  more 
modern  suites  resemble  less  of  the  folk 
dance  style  of  music  and  are  better  suit- 
ed to  background  motion  pictures. 
Grofe's  Grand  Canyon  Suite  is  a  fine 
example  of  this.  Some  suites,  as  with 
Grieg's,  are  noted  for  their  contrast- 
ing high  and  low  tones  which  make  it 
necessary  to  smooth  out  the  abrupt 
changes  with  the  volume  controls  when 
playing  this  type  of  music  with  pic- 
tures. Not  everj''  suit  is  suitable  for  mo- 
tion pictures  because  of  this. 

Next  step  in  the  education  of  movie 
amateurs  who  plan  using  background 
music  with  pictures  is  to  catalogue  as 
many  as  possible  of  the  more  substantial 
and  widely  known  compositions  accord- 
ing to  the  mood  of  music  they  offer. 
Some  amateurs  have  started  actual  cata- 
logs, using  a  note  book  in  which  to  list 
a  recording  they  have  heard  and  indicate 
mood  or  moods  of  the  music  it  affords. 

The  reader  will  find  the  following 
analysis  of  recordings  helpful  in  select- 
ing music  for  playing  with  his  movies. 
All  of  the  record  titles  listed  are  to 
•  Continued  on  Page  4,  S 


424 


HOME  MOVIES  FOR  NOVEMBER 


WHY  DIDI'T  m 
FILM  WII . .  ? 


Some  of  the  reasons  why 
contest    films    failed    to  place 


•  Failure  to  use  a  steady  camera  sup- 
port— 


O  amateurs  whose  films  failed 
to  place  in  Home  Movies'  Annual  Con- 
test just  closed,  the  editors  feel  an  ob- 
ligation to  point  out  here  the  filming 
faults  that  kept  many  pictures  out  of 
the  winner's  circle.  Of  course,  not  all 
of  the  films  that  failed  to  place  exhib- 
ited the  shortcomings  that  will  be  an- 
alyzed here.  Many  receiving  Honorable 
Mention,  for  example,  provided  dan- 
gerous competition  for  the  trophy  win- 
ners which  were  adjudged  the  better 
films  after  careful  analysis  and  com- 
parison by  the  contest  staff. 

Generally  speaking,  some  filmers 
failed  to  place  in  the  contest  because 
they  sought  to  express  themselves  in 
an  art,  the  implements  and  technique 
of  which  they  had  not  yet  fully  mas- 
tered. They  know  how  to  thread  and  ex- 
pose film  in  a  cine  camera,  but  have 
not,  through  study  and  practice,  yet 
acquired  a  thorough  knowledge  of  the 
many  important  elements  that  go  to- 
gether to  make  what  is  accepted  as  a 
good  amateur  motion  picture. 

The  chief  faults  are  catalogued  and 
analyzed  as  follows: 

Errors  in  Exposure:  Over-  and  un- 


der-exposure prevailed  in  many  films, 
due  chiefly  to  lack  of  attention  to  ex- 
posure chart  or  meter  before  shooting. 

Lack  of  Sharp  Focus:  Wliere  this  was 
obviously  due  to  the  camera  equipment, 
this  fault  was  minimized  by  the  judges; 
but  many  filmers  exhibited  a  careless- 
ness in  this  department,  were  evidently 
those  not  yet  trained  to  check  focus 
before  each  shot. 

Unsteady  Camera:  Next  to  excessive 
panning,  nothing  is  more  annoying  on 
the  screen  than  jittery  camera  move- 
ment. While  a  good  tripod  is  the  rec- 
ommended corrective  for  this  fault,  it 
is  nearly  always  possible  to  find  a 
fence,  wall,  tree  or  lamp  post  on  which 
to  rest  camera  while  shooting,  thus  in- 
suring rock-steady  pictures. 

Effect  TransitioHs:  Some  films  con- 
tained far  too  many  effect  transitions 
such  as  dissolves,  iris-dissolves,  wipe- 
offs,  etc.  Some  filmers,  once  they  ac- 
quire a  skill  in  producing  these  effects, 
have  a  tendency  to  over-do  them.  There 
were  many  films  in  which  practically 
every  cut  from  a  long  or  medium  shot 
to  a  closeup  was  effected  by  means  of  a 
lap-dissolve.  A  lap-dissolve  should  be  used 
sparingly  and  then  only  to  cut  from 
;       one  sequence  to  another. 

Bad  Splices:  There  were  several 
films  received,  review  of  which  was 
•  Continued  on  Page  4^6 


•  Lack  of  titling,  too,  forced 
many  otherwise  good  films  out  of 
the  winners'  circle.  Painstaking 
titling    paid    dividends    in  trophy 


To  check  exposures  carefully- 


•  .  .  .  and  to  set  focus  sharply  each  time, 
contributed  much  to  the  failure  of  many 
films  to  win  a  place  in  the  contest. 


•  Fig.  1 — Wrong  contrast  in  background.  Here 
background  dominates  title  text. 


•  Fig.  2 — Here  background  is  subdued,  increas- 
ing contrast  and  readability  of  title  text. 


BKKGROMD  lacu 

for  title  makers  ,  ,  , 

By  GEORGE  W.  CUSHMAN 


Every  title  has  a  background. 
It  may  be  no  more  than  a  plain  black 
card,  or  it  may  be  a  beautiful  picture. 
Each  type  of  background  has  its  place 
in  a  film,  and  the  wise  amateur  will 
choose  his  title  backgrounds  carefully. 

Backgrounds  may  be  classified  into 
many  groups,  starting  with  the  plain, 
solid  black  background  to  the  triple  ex- 
posed moving  background.  All  are  in- 
teresting to  make  and  powerful  in  the 
strength  they  add  to  a  film. 

Let's  analyze  for  a  moment  the  re- 
quirements of  a  good  title  background 
in  order  that  we  may  select  the  type 
best  suited  for  a  given  film  or  title. 
Technically  speaking,  a  good  title  is  one 
that  is  easily  read.  To  be  easily  read  the 
title  should  stand  out  from  the  back- 
ground, or,  in  other  words,  have  good 
contrast.  Extreme  contrast  would  con- 
sist of  black  over  white,  and  if  legibil- 
ity is  the  prime  requisite,  white  letters 
on  a  black  card  will  afford  maximum 
contrast.  It  is  impossible  to  obt?.in  good 
contrast  in  the  film  if  the  background  is 
dark  grey  instead  of  flat  black. 

It  frequently  happens  that  some  ama- 
teurs over-do  this  matter  of  contrast. 
They  believe  the  background  should  be 
opaque  and  the  letters  white  as  snow. 
But  no  one  has  yet  advanced  a  reason 
for  this.  Titles  are  still  legible  with  only 
an  average  amount  of  contrast.  This  be- 
ing true,  it  is  then  possible  to  bring 
about  some  design  or  pictorial  effect  in 
the  background  but  still  retain  suffi- 
cient contrast  with  the  white  letters  to 
keep  them  legible.  Mottled  backgrounds 
are  always  interesting.  Backgrounds  of 
rough  fabrics  such  as  burlap  are  popu- 


lar, as  are  scenic  landscapes,  providing 
they  are  dark  enough  to  permit  letter- 
ing to  appear  prominently. 

Another  requirement  of  a  back- 
ground is  that  it  should  not  be  so  ob- 
vious as  to  detract  from  text  of  the 
title.  A  pictorial  background  containing 
sharp  detail  would  do  this.  Simplicity, 
therefore  is  preferable,  and  a  slightly 
hazy  or  foggy  out-of-focus  appearance 
in  the  title  background  containing  de- 
sign is  much  better  than  wiry  definition. 

A  good  background,  also,  should  con- 
form to  the  theme  of  the  film  and  re- 
main in  keeping  with  the  subject.  A 
picture  of  a  locomotive,  for  example, 
would  make  an  interesting  background 
for  the  title  "A  Trip  Through  Old  Mex- 
ico," but  it  would  be  most  absurd  if  the 
trip  recorded  in  the  film  had  been  made 
by  automobile.  Far  better  to  have  a  shot 
of  the  car,  or  a  scene  of  Old  Mexico 
as  the  background. 

Neutral  backgrounds,  such  as  mot- 
tled effects,  birch  bark,  foliage,  wall- 
paper, etc.,  are  acceptable  for  practi- 
cally any  film.  With  a  light  background, 
such  as  birch  bark  and  the  lighter  shades 
of  wall  paper,  desired  contrast  is  ob- 
tained by  using  black  lettering.  When 
using  Kodachrome,  contrast  is  gained 
through  the  use  of  different  colors.  But 
even  with  color  titles,  the  appearance 
on  the  screen  is  better  when  maximum 
light  and  dark  values  are  carried  out  be- 
tween lettering  and  background. 

We  have  been  discussing,  of  course, 
backgrounds  for  main  and  credit  titles, 
for  these  are  the  only  titles  for  which 
pictorial  or  ornamental  backgrounds 
should  be  used.  For  subtitles,  the  plain- 


est of  backgrounds  should  be  used.  To- 
day, having  become  accustomed  to 
sound  movies,  the  public  finds  titles  in 
motion  pictures  a  deterrent  to  smooth 
flow  of  continuity.  Therefore  the  few- 
er descriptive  titles  and  the  shorter  they 
are,  the  better.  If  the  subtitle  is  laid 
over  an  ornamental  background,  the 
eye  is  certain  to  be  distracted  by  the 
decoration,  and  the  title  must  remain 
longer  on  the  screen  if  the  spectator  is 
to  be  able  to  read  it  completely  and  ob- 
serve the  background,  too. 

A  question  frequently  asked  is: 
"Should  subtitle  backgrounds  be  uni- 
form in  style  and  treatment,  or  can 
they  be  varied?"  Best  answer  to  this  is, 
observe  a  book.  Paper  and  style  of  type 
is  uniform  throughout  the  book.  And  so 
it  should  be  with  movie  subtitles.  Titles 
which  are  uniform  in  treatment  lend 
unity  to  the  film.  In  short,  subtitles 
should  consist  of  plain,  unadorned  back- 
grounds simply  lettered.  In  Koda- 
chrome, title  backgrounds  should  be  of 
one  solid  color  with  lettering  in  a  con- 
trasting color. 

Why  can  main  titles  have  picturesque 
backgrounds  while  sub-titles  should 
not?  First  of  all,  a  main  title  fades  in 
and  creates  a  softer,  more  dramatic  ef- 
fect on  the  screen  than  the  sub-title. 
Second,  it  is  slower  in  tempo  and  can 
remain  longer,  thereby  giving  ample 
time  for  viewing  the  background. 
Third,  the  main  title  does  not  retard  the 
screen  action,  since  the  action  has  not 
yet  begun.  The  effect  of  a  well  designed 
main  title  with  appropriate  background, 
can  be  tremendous  in  setting  the  stage 
for  the  picture  about  to  follow.  Done 
correctly  it  increases  the  desire  to  view 
the  picture  about  to  unfold. 

It's  one  thing  to  decide  upon  a  good 
background,  but  it's  entirely  something 
else  to  get  it.  What  are  some  of  the 
sources  of  good  backgrounds?  If  a  pho- 
tographic background  is  desired,  the 
wise  amateur  will  take  a  few  snapshots 
of  his  scenes  while  shooting  with  his 
movie  camera.  These  may  be  enlarged 
and  lettered  for  the  titles.  Magazine 
illustrations  afford  another  source, 
presenting  possibilities  the  amateur  can- 
not easily  dupHcate  with  his  own  still 
•  Continiud  on  Page  440 


426 


HOME  MOVIES  FOR  NOVEMBER 


IEING  one  of  a  group  of  cine- 
filmers  with  "connections"  leading  to 
piofessional  sound  recording  equipment 
that  I  might  use  at  any  time,  I  long  had 
wished  to  make  a  short  musical  sound 
film  using  an  ordinary  phonograph  rec- 
ord as  the  basis  of  both  the  music  and 
story.  "Obey  Your  Air  Raid  Warden"  is 
the  result — a  loo-foot  sound-on-film 
short  in  i6nmi  Kodachrome 

"Obey  Your  Air  Raid  Warden"  con- 
tains nothing  new  from  a  professional 
standpoint.  From  the  amateur  stand- 
point however,  it  is  an  interesting  illus- 
tration of  just  what  can  be  done  with 
an  ordinary  phonograph  record  such  as 
one  might  buy  at  any  music  shop.  When 
we — my  associates  and  I — planned  the 
picture,  we  first  cast  around  looking  for 
a  record  that  might  easily  be  portrayed 
in  a  sound  movie.  We  wanted  it  to  tell  a 
story  and  offer  opportunity  for  some 
action  on  the  part  of  the  players. 

The  writer  heard  strains  of  Tony 
Pastor's  recording  of  "Obey  Your  Air 
Raid  Warden"  wafted  through  his 
apartment  window  from  a  neighbor's 
radio  several  weeks  before.  It  sounded 
promising,  and  the  record  was  duly  pur- 
chased. The  first  operation,  after  decid- 
ing definitely  to  do  the  film,  was  to  jot 
down  an  outline  of  the  tentative  action. 
In  brief,  the  song  tells  of  eight  rules  to 
observe  when  an  air  raid  warning 
sounds.  We  decided  that  a  unique  way 
of  presenting  these  rules  visually  as  well 
as  autally  would  be  to  print  each  rule 
on  a  black  card.  Inasmuch  as  the  rec- 
ord had  three  male  voices  singing  the 
ditty,  we  decided  that  the  singers  ccruld 
bring  those  cards  into  position  as  the 
words  were  sung. 

We  would  like  to  say  at  this  time 
that  none  of  the  actors'  voices  were  act- 
ually heard  from  the  screen  at  any  time. 
We  merely  went  through  the  motions 
of  singing  while  the  record  was  played, 
much  in  the  manner  that  Hollywood 
gives  some  of  its  glamorous  stars  pro- 
fessional singing  voices.  Without  knowl- 
edge of  our  deception,  however,  we 
challenge  anyone  to  view  the  picture 
and  detect  the  process. 

The  eight-bar  orchestral  introduction 
uas  partially  alloted  to  the  main  title, 
sharing  time  with  an  opeinng  sound  ef- 
fect of  a  wailing  siren.  Camera  angles 


a  Two  frame  enlargements 
from  the  16mm.  amateur  pro- 
duced sound  film  "Obey  Your 
Air  Raid  Warden"  inspired  by 
a  popular  phonograph  recording 
of  the  same  title. 


HOW  WE  MM 
i  mU  FILM 


were  figured-out  for  the  synchronous 
shots  of  the  singers.  We  then  discovered 
that  there  was  a  total  of  one  full  minute 
in  which  no  words  were  sung,  as  the 
Tony  Pastor  group  got  in  their  "licks." 

It  seemed  that  the  logical  thing  to 
accompany  this  musical  interlude  was  a 
quick  montage  of  the  activities  of  va- 
rious citizens  during  an  actual  black- 
out. These  we  decided  to  picture  in  a 
humorous  vein,  as  will  be  described 
later. 

With  the  tentative  shooting  script 
now  planned,  the  first  actual  step  to- 
ward making  the  film  was  to  rerecord 
Tony  Pastor's  recording  on  i6mm. 
sound  film.  This  was  necessary  in  order 
to  measure  exact  footages  and  so  build 
the  scenes  for  the  picture,  and  was  done 
at  the  Calvin  Company  studios  on  their 
professional  Berndt-Maurer  i6mm.  re- 
cording equipment.  We  used  a  direct- 


positive  track  instead  of  a  negative 
track  because  we  plarmed  to  make  a 
composite  print  on  Kodachrome.  For  all 
reversal  work,  including  Kodachrome, 
the  positive  track  is  used  instead  of  the 
negative  track  for  technical  reasons. 

These  preliminaries  led  to  the  actual 
photography  of  the  sync,  shots.  White 
coats  were  worn  by  the  three  singers  to 
give  the  black  cards  and  lettering  nice 
contrast.  Two  American  flags  were 
criss-crossed  in  the  background,  with 
the  Air  Raid  Warden  emblem  placed 
between  them.  During  rehearsals  in 
which  lip  movements  were  matched 
with  the  recording,  our  original  record 
was  played  on  a  highly  accurate  turn- 
table rurming  at  constant  speed.  This 
insured  that  lip  movements  would  cor- 
respond exactly  on  our  sound  track. 

The  sound  track  could  not  be  played 
•  Continued  on  Page  4)4 


427 


HOME  MOVIES  FOR  NOVEMBER 


•  Snow  scenes  are  among  those 
most  frequently  over — or  under- 
exposed. But  they  can  be  salvaged 
and  made  screenable  by  simple  re- 
ducing or  intensification  processes. 


my 


i.  ,    I'll.  tunim. 
\fash  n.  S/J''  '  ^ 


o^e  over- 


umutk 

or  under 'exposed  iliot^ 


[N  important  thing  often  over- 
looked by  the  movie  amateur  is  the  fact 
that  an  over-  or  under-exposed  scene, 
if  it  was  shot  on  panchromatic  film, 
need  not  become  a  total  loss.  It  can, 
by  the  processes  of  reduction  or  inten- 
sification, be  restored  almost  if  not  en- 
tirely to  normal.  Unfortunately,  this  is 
not  possible  with  Kodachrome;  but  with 
black  and  white  film,  if  one  or  two 
scenes — or  even  the  entire  roll — turns 
out  over-  or  under-exposed,  the  film  can 
be  made  screenable  and  by  the  amateur 
himself. 

While  we  purposely  avoided  detailing 
the  extensive  routine  of  processing  re- 
versal film  in  the  preceding  article 
(October  issue),  we  do  not  hesitate  to 
set  forth  here  the  simple  home  proce- 
dure by  which  any  amateur  can  salvage 
his  exposure  mistakes. 

While  it  is  true  that  the  processing 
laboratory  takes  care  of  some  of  the  am- 
ateur's errors  in  exposing  film,  it  is  un- 
derstandable there  must  be  some  limits 
tc  the  corrective  ability  of  modern  au- 
tomatic processing  equipment.  And  if  a 


W 


film  is  greatly  over-  or  under-exposed, 
the  laboratory'  can  only  partially  cor- 
rect it. 

When  a  roll  of  film  is  received  and 
you  find  the  most  important  scene  of 
all  is  under-exposed,  you  can  clip  it 
out  of  the  roll,  go  into  the  kitchen  or 
b-throom.  and  with  the  aid  of  a  few 
chemicals,  a  developing  tray  or  suitable 
substitute,  subject  the  film  to  corrective 
treatment.  The  treatment  given  the 
film  is  termed  reducing.  There  are  a 
number  of  prepared  reducers  on  the 
market,  but  the  formula  most  popular 
and  easiest  to  handle  is  "Farmer's  Re- 
ducer." It  consists  of  the  following  in- 
gredients and  should  be  prepared  im- 
mediately before  using  as  it  decomposes 
rapidly  after  mixing  together  the  A  and 
B  solutions: 

Solution  A 

^'ater  i  Oz.  (32.0  cc) 

Potassium  Ferricyanide 

 15  grains  (i.ogram) 

Solution  B 

ater  —-3 2  Ozs.    (i.o  liter) 

Hypo  I  Oz.  (30.0  grams) 


Where  only  short  lengths  of  film 
such  as  individual  scenes  are  to  be  re- 
duced, a  developing  drum  or  rack  such 
as  used  in  the  reversal  process  is  not 
necessary'.  Instead,  two  photographic 
trays  are  all  the  equipment  required — 
one  to  hold  the  reducing  formula  and 
one  for  the  washing  water.  Where  reg- 
ular photographic  trays  are  not  avail- 
able, two  glass  refrigerator  trays  or 
deep  china  or  porcelain  kitchen  utensils 
will  serve  the  purpose. 

Prepare  the  film  to  be  treated  by  sub- 
jecting it  to  a  thorough  wetting  in 
clear  cold  water.  As  soon  as  the  film 
has  been  soaked  sufficiently,  prepare 
the  reducing  bath  by  mixing  solutions 
A  and  B  together  in  the  second  tray 
and  immersing  the  film  at  once.  The 
film  should  be  constantly  agitated  while 
in  the  solution.  It  should  be  inspected 
frequently  to  determine  when  reduc- 
tion has  reached  the  desired  point.  Then 
film  should  be  removed  to  the  tray  of 
fresh  water  and  washed  thoroughly  be- 
fore drying. 

The  mixed  formula,  of  course,  will 
have  to  be  destroyed  as  it  cannot  be 
stored  successfully.  However,  the  so- 
lution already  prepared  and  in  the  tray 
will  treat  more  than  one  strip  of  film, 
providing  the  work  is  done  all  at  once. 
New  solution  will  have  to  be  added 
only  where  the  process  is  prolonged 
and  the  solution  becomes  too  weak  to 
perform  within  the  customary-  time. 

To  correct  an  01  er-exposed  scene  or 
section  of  film,  an  entirely  different 
formula  must  be  used,  although  the 
process  of  treating  the  film  is  practical- 
ly the  same.  Let  us  take  one  of  the  bad- 
ly over-exposed  scenes  which  we  deleted 
from  a  roll  of  film  sometime  ago  and 
correct  it.  We'll  give  it  a  bath  in  a 
compound  intensifier  solution  which 
should  bring  the  image  up  to  as  near 
normal  as  possible  depending  upon  the 
extent  of  over-exposure. 

Placing  the  film  in  a  tray  of  cold  wa- 
ter, as  before,  we  allow  it  to  soak  thor- 
oughly. This  bath  in  cold  water  is  ab- 
solutely necessary  in  order  to  complete- 
ly soften  the  emulsion  to  allow  quick 
and  even  penetration  of  the  intensifier 
solution. 

The  following  formula  is  the  only 
•  Continued  on  Page  439 


428 


HOM€  MOVIES  FOR  NOVEMBER 


•  Personal  film  records  of  the  outstand- 
ing men  of  this  war  will  prove  invaluable 
in  years  to  come. 


Uoday-'^  M^ovie^,  Our 
future  JrUtory,  Mook^ 


lOVIE  amateurs  who  fail  to 
take  advantage  of  the  unprecedented 
opportunities  existing  to  build  a  motion 
picture  library  of  today's  history-mak- 
ing events,  are  missing  one  of  the  best 
bets  in  their  cinematic  careers.  Already 
hundreds  of  amateurs  are  keeping  their 
cameras  busy  recording  the  changes 
taking  place  almost  daily  in  our  eco- 
nomic life — the  draft  of  men,  tire 
shortage,  sugar  and  gasoline  rationing, 
women  in  uniform  and  in  industry, 
etc. — factual  motion  pictures  which 
will  prove  of  immeasurable  historic 
value  in  the  future. 

The  more  important  events,  however, 
which  imderly  the  great  changes  taking 


W 


place  in  our  every-day  life  are,  for  the 
most  part,  outside  the  reach  of  amateur 
cameras.  But  motion  picture  records  of 
these  events  in  both  8mm.  and  i6mm. 
are  being  made  available.  Their  future 
historic  value  is  as  yet  not  fully  appre- 
ciated. But  five  or  ten  years  from  now 
when  din  of  the  present  strife  has  sub- 
sided and  these  days  become  less  vivid 
in  our  memories,  there  will  be  times 
when  a  factual  motion  picture  record 
of  this  eventful  1942  will  prove  im- 
mensely valuable  and  educational. 

Bringing  to  the  amateur  motion  pic- 
ture screen  practically  ever  major  event 
of  importance  occurring  during  1942  is 
•  Continued  on  Page  43  5 


•  Pictured  here  are  some  of 
the  events,  motion  pictures 
of  which  go  together  to 
make  up  Castle  Films' 
"News  Parade  of  1942." 


PACE  430 


HOME  MOVIES  FOR  NOVEMBER 


SMOKED 
SURFACE 
INSIDE 


APPLY  TAPE 
TO  TOP  &  BOTTOM 
EDGES  ONLY 


Fading  Glass 


An  effective  fading  glass  for  making 
fade-ins  and  fade-outs  can  be  made 
from  two  pieces  of  clear,  flawless  win- 
dow glass  I  '/2"x4".  Partially  smoke  sur- 
face of  one  glass  over  a  candle  flame 
as  shown  in  sketch,  darkening  glass 
from  clear  to  full  opaque  from  point  in 
center  to  one  end.  Make  sure  not  to 
scratch  smoked  surface. 

Place  second  piece  of  glass  over 
smoked  surface  of  treated  glass,  then 
seal  together,  using  scotch  or  adhesive 
tape  applied  over  tke  top  and  bottom 
edges  only. 

To  make  a  fade-out,  pass  glass  be- 
fore lens  while  camera  is  in  motion  so 
that  clear  area  moves  across  lens  first. 


TUG  EXPERlMEHiL 


Stop  camera  when  opaque  area  com- 
pletely covers  lens.  To  make  a  fade-in, 
reverse  this  procedure. — C.  D.  Everest, 
Bttrbank,  Calif. 

Emergency  Aid 

It  is  not  uncommon  for  a  splice  to 
break  after  it  has  passed  through  pro- 
jector gate,  thus  causing  the  break  to 
go  unnoticed  and  the  film  to  pile  up  on 
the  floor  instead  of  going  to  take  up 
reel. 

A  handy  item  in  an  emergency  of 
this  kind  is  a  piece  of  soft  flannel 
with  which  to  clean  film  of  dust  as  it 
is  being  wound  back  upon  the  reel.  Fold 
flannel  around  film  so  it  covers  both 
sides  and  hold  with  fingers,  applying 
just  enough  pressure  to  remove  dust 
particles  as  film  passes  between  the 
folds.  A  drop  or  two  of  carbon  tetra- 
chloride will  insure  removing  all  dust, 
dirt  and  oil. — H.  I.  Jamison,  Toronto, 
Ont. 


STRING 


THUMB 
TflCKS 


RUBBER  BAND 


end  of  title  card  and  secured  at  bottom 
of  titler.  This  serves  to  apply  proper 
tension  on  card  so  it  will  move  smooth- 
ly as  it  is  being  drawn  upward  when 
takeup  crank  is  turned  at  top  of  title 
board. — K.  L.  Morison,  Boston,  Mass. 

Title  Backgrounds 

There  are  occasions  when  it  is  de- 
sirable to  use  for  a  title  background, 
the  pages  of  a  book,  a  map,  poster,  pic- 
ture, etc.,  on  which  it  is  impractical 
to  letter  the  title  text.  One  way  to  com- 
plete the  title,  of  course,  is  to  film  the 
background  object,  then  wind  back  film 
and  superimpose  the  title. 

A  more  practical  way  is  to  place  the 
background  object  on  a  table,  then  lay 
a  panel  of  glass  above  it  supported  by 
blocks  of  wood  of  sufl&cient  height.  The 
title  letters  may  then  be  arranged  on 
the  glass  surface  and  the  title  aad 
background  filmed  together  at  one  time. 

With  a  little  attention  to  placing 
lights,  attractive  shadow  effects  from 
the  letters  can  be  made  to  fall  upon 
the  background. — F.  G.  Halperin,  Den- 
ier, Colo. 


Film  Shipping  Box 

Offering  durabihty  and  utiHty  in 
film  shipping  containers  is  a  wooden 
box  with  lid  which  provides  for  owner's 
name  and  address  permaneatly  lettered 
on  one  side,  and  reversing  of  lid  for  af- 
fixing label  carrying  name  and  address 
of  person  to  whom  film  is  to  be  shipped. 

Lid  is  secured  in  place  by  four  screws 
instead  of  nails,  making  it  easy  for  con- 
tainer to  be  used  over  and  over  again. 
When  film  is  to  be  returned  to  owner. 


PASS  'EM  ALONG! 

Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  columns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
jection reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  ,your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  kleas  you  may  submit,  ideas 
not  immediately  published  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
If  submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  1  6mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


Scroll  Titler 

Scroll  titles — those  with  more  than 
a\erage  number  of  lines  which  must 
be  moved  vertically  to  permit  reading 
of  entire  title  —  may  be  filmed  easily 
without  elaborate  "scroll"  attachments. 
By  using  a  wooden  or  celotex  title  board 
and  attaching  a  takeup  made  of  bent 
heavy  wire  above  it,  as  shown  in  sketch, 
title  can  be  lettered  on  heavy  paper  or 
cardboard  then  placed  on  title  board 
and  held  in  position  by  six  large-head 
thumbtacks,  as  shown.  Thumbtacks  do 
not  pierce  title  card  but  are  inserted 
in  title  board  so  only  heads  of  tacks 
extend  over  the  title.  Thus  a  track  is 
formed  for  the  title  card  to  move  with- 
in in  the  scroll  action. 

A  rubber  band  is  attached  to  lower 


sender  's  name  i,  address 


HOME  MOVIES  FOR  NOVEMBER 


CUE   WflRKSHflP  , 


lid  of  container  is  reversed  so  owner's 
name  and  address  appears  on  outside. 

Shipping  containers  of  this  kind  are 
easy  to  make  in  spare  time  from  Hght- 
weight  lumber  easily  obtainable.  D.  E. 
Forrest,  Baton  Rouge,  La. 


Secures  Film 

If  you've  switched  to  scotch  or  ad- 
hesive tape  to  replace  rubber  bands 
as  a  means  of  securing  ends  of  film  on 
your  projector  reels,  the  tape  will  be 
much  easier  to  remove  each  time  if  one 
end  is  folded  back  for  a  distance  of 
or  Yz  inch  on  gummed  side  as  shown 
here.  This  forms  a  convenient  tab  which 
may  readily  be  gripped  with  the  fingers 
in  xinwinding  the  film,  particularly 
where  film  does  not  quite  fill  the  reel 
making  it  necessary  to  insert  fingers 
some  distance  into  the  reel  to  reach 
the  film. — B.  C.  Dernier,  Toledo,  Ohio. 

Leaders 

An  idea  which  serves  a  dual  pur- 
pose is  that  which  involves  using  white 
leaders  at  the  beginning  of  reels  and 
black  leaders  at  the  ends. 

White  leaders  at  beginning  of  reels 
serve  to  indicate  reel  is  rewovmd  and 
ready  to  project.  Black  leaders  at  end 
of  reels  provide  a  better  "closing"  of 
the  film  presentation.  They  allow  time 
to  switch  off  projector  lamp  and  thus 
prevent  the  white  flash  that  usually  ap- 
pears on  screen  when  end  of  film  pass- 
es through  projector. — /.  /.  Kalmfnson, 
Brooklyn,  N.  Y. 

Single  Frame 

If  yours  is  an  early  model  Keystone 
8mm.  camera,  you  can  obtain  consist- 
ently even  single  frame  exposures  with- 
out altering  camera  by  the  following 
method: 

Allow  motor  to  run  down  complete- 
ly. Then,  wind  motor  spring  one  and 
one-half  turns.  This  produces  enough 
pressure  in  the  motor  spring  to  permit 


flicking  the  starting  button  with  finger 
and  obtaining  a  single  frame  exposure. 
Exposure  speed  will  be  just  half  of  that 
at  regular  16  f.p.s.  camera  speed. — A.  B. 
Cornell,  Joplin,  Mo. 

Wipeoff  Device 

A  simple  device  for  making  wipeoff 
effects  may  easily  be  put  together  by 
any  amateur  for  either  8mm.  or  i6mm. 
cameras.  Obtain  a  piece  of  heavy  card- 
board, 1/8  to  3/32  of  an  inch  in  thick- 
ness, and  cut  out  pieces  to  form  the 
wipe  blade  mount  as  shown  in  sketch. 
No  dimensions  are  given  here  as  figures 
differ  for  each  make  camera.  However, 
wipeoff  blade  should  be  wider  by  1/4 
inch  than  diameter  of  lens  barrel.  With 
this  dimension  established,  size  of 
mount  which  fits  over  lens  can  be  de- 
termined. 

With  cardboard  pieces  cut  to  proper 
size,  glue  them  together  in  "A,  B,  C" 
order  shown  in  sketch.  A  hole  should 


CflMERft  I 

CARDBOARD  MOUNT 


WIPE  OFF  BL  RDE 


ABC 


OPENING  FOR  LENS 


be  carefully  cut  or  drilled  in  center  of 
piece  C  to  permit  a  snug  fit  over  cam- 
era lens. 

Wipe  blade  should  be  cut  from  a  thin 
but  rigid  piece  of  black  paper  or  card- 
board 1/32"  in  thickness.  Using  sharp 
pocket  knife  or  razor  blade,  cut  out 
open  area  of  blade  as  shown.  When  in- 
serted in  the  mount,  blade  should  move 
smoothly  when  passed  from  left  to 
right  or  vice  versa. 

To  produce  wipe  effect  with  this  gad- 
get, blade  should  be  set  with  open  area 
before  lens.  When  wipe  is  to  be  started, 
blade  is  moved  at  desired  speed  across 


PACE  431 


g.adg.et^y  tricks 
^Itortcut^  contri' 


butedby.  Cinehug,^ 


lens  until  Lens  is  covered. — G.  M.  Irion, 
Massilon,  Ohio. 

Reinforce  Splices 

A  remady  for  chronic  splice-parting 
is  the  reinforcement  of  all  splices  with 
transparent  scotch  tape.  On  shiny  side 
of  film,  apply  short  piece  of  tape  the 
width  of  the  picture  frame.  —  E.  F. 
Greene,  Seattle,  Wash. 

Tripod  Anchor 

Here  is  an  idea  that's  helpful  when 
filming  with  camera  mounted  on  tripod 
from  an  unsteady  platform  such  as  that 
of  a  train,  top  of  an  automobile,  etc.  To 
prevent  tripod  slipping  or  being  shaken 
from  its  position,  a  piece  of  clothesline 
tied  to  tripod  screw  or  top  of  tripod 
and  extended  to  a  screwhook  in  the 
floor  will,  when  tightened  with  turns 
of  a  short  stick,  anchor  tripod  securely. 

Where  it  is  impractical  to  use 
screwhook  in  floor  or  platform,  a  loop 
or  stirrup  made  at  lower  end  of  rope 
provides  means  of  using  foot  to  ap- 
ply necessary  force  to  hold  tripod  steady. 
— /.  K.  Lambert,  Albuquerque,  N.  M. 


ftL  TERNRTIVE 


PACE  432 


HOME  MOVIES  FOR  NOVEMBER 


M 


ome  movie 


Where   to   rent   or   buy   Smm.   and    16mm.  films 


•  O  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films,  both  sound  and  silent,  maintained  by  your  photo  dealer  for 
owners  of  Smm.  and  i6mm.  projectors.  Rental  rates  are  surprisingly  low  and 
new  films  are  added  at  regular  intervals.  Dealers  listed  below  will  gladly  assist 
with  suggestions  for  one  reel  to  full  evening  programs: 


CAUFORNIA 

HOLLYWOOD 

Bailey  Film  Service 
1651  Cotmo  Street 

Bell  &  Howell  Filmosound  LIbrery 
716  N.  La  Brea  Ave. 

Castle's  Inc. 
1529  Vine  Street 

Morgan  Cannera  Shop 
6162  Suniet  Blvd. 

LONG  BEACH 

Winittcd  Bros.,  Inc. 
244  Pine 

LOS  ANGELES 

Films  incorporated 
1709  W.  eth  Street 

SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 
Photo  &  Sound,  Inc. 
153  Kearny  St. 

Robert  Crawford  Studios 
235   Pine  Street 
Telephone:  YLfkon  1234 

SANTA  MONICA 

Stewart   Photo  Company 
1257  Third  Street 


CONNECTICUTT 

WATERBURY 

Majestic  Pictures 
P.  O.  Box  1 125 

DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  k  Howell  Filmosound  Library 
1221  G  St..  N.  W. 


ILLINOIS 


BERWYN 


Colonial  Camera  Shop 
690*  Windsor  Ave. 

CHICAGO 

Bell  ti  Howell  Filmosound  Library 
IB25  Larchmont  Ave. 

Filrrw  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 


INDIANA 


INDIANAPOLIS 

W.  Stuart  Bussey 

17  East  St.  Joseph  St. 


IOWA 


MASON  CITY 


Decker  Bros. 

209  No.  Federal  Ave. 


KANSAS 


WICHITA 


Jeff's  Camera  Shop 
139  N.  Broadway 


Lewis  Film  Exchange 
216  East  1st  St. 


MASSACHUSETTS 


BOSTON 


Don   Elder's  Film  Library 
739  Boylston  St..  Dept.  HM. 

Frank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
32S  State  Street 


NEW  YORK 

ALBANY 

Albany  Camera  Shop  Rental  Library 
204  Washington  Avenue 

KENMORE 

Nixon  Camera  &  Photo  Supply  Co. 
2611  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
39  Rockefeller  Plaza 

Films,  Incorporated 
330  W.  42nd  St. 

Walter  O.  Gutlohn,  Inc. 
25  Weit  45th  St. 

Habar  L  Fink,  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
IS  West  47th  St. 

National  Cinema  Service 
69  Dey  Street 


OHIO 


CINCINNATI 


Ralph  V.  Haile  &  Assoc. 
215  Walnut  St. 


DAYTON 


Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 


OREGON 


PORTU^ND 


Films  Incorporated 
314  S.  W.  9th  Avenue 

PENNSYLVANIA 

PHILADELPHIA 

Kuni  Motion  Pictures 
1319  Vine  Street 

TEXAS 

DALLAS 

National  Ideal  Pictures.  Inc. 
2024  Main  St. 

WEST  VIRGINIA 

CHARLESTON 

Elmer  B.  Simpson 

Vk  W.  v;'g;^:a  St. 


J^/  i^ou  want  a 

FILM  to  ^now 

.  .  .  NEWS  OF  TIMELY  SUBJECTS 
FOR  HOME  PROJECTORS 


War  Films 

Castle  Films  are  distributing  a  num- 
ber of  films  produced  by  authority  of 
the  Office  of  War  Information.  These 
pictures  were  conceived  to  keep  the 
public  informed  on  the  various  aspects 
of  the  War  effort.  All  of  the  films  are 
in  1 6mm.  sound  and  priced  at  actual 
print  cost.  A  350  ft.  subject,  for  ex- 
ample may  be  had  for  only  S7.20. 

Titles  of  subjects  are  as  follows: 
Aluminum,  Bomber,  Building  a  Bomb- 
er, Tanks,  Building  a  Tank,  Power 
for  Defense,  Ring  of  Steel,  Lake  Carrier, 
and  Women  In  Defense. 

Further  information  regarding  con- 
tent and  prices  of  films  may  be  had  by 
writing  Castle  Films,  R.  C.  A.  Bldg., 
N.  Y.  City. 


Scientific  Films 

"^faking  the  Dead  Appear  To  Live" 
is  title  of  one  film  in  a  new  series  on  sci- 
entific subjects  just  announced  by  Bell 
&  Howell  Filmo  sound  Libraries.  Dem- 
onstrated in  this  film  is  what  happens 
to  specimens  sent  to  museums  by  sci- 
entific expeditions.  Fish,  mammals,  etc., 
are  mounted  and  finished  in  life-like 
appearance. 

Other  subjects  in  this  series  are:  Yel- 
lowstone Wildlife,  Let's  Look  At  Trees, 
Quetzal  Quest,  Desert  in  Bloom,  and 
Pea  Fowls  of  Indo-China. 


/ 


HOME  MOVIES  FOR  NOVEMBER 


PACE  433 


Films  are  available  for  both  rental 
and  sale.  Inquiries  should  be  addressed 
to  Bell  &  Howell  Filmosound  Library, 
1 80 1  Larchmont  Ave.,  Chicago,  111. 


Welding  Films 

General  Electric  Company  reports 
that  over  2000  reels  of  their  i6mm.  in- 
structional series,  "The  Inside  of  Arc 
Welding"  produced  by  the  Raphael  G. 
Wolff  Studios  of  Hollywood,  are  now 
in  circulation  throughout  the  nation. 
The  films  are  being  used  by  Army, 
Navy  and  vocational  schools  in  speed- 
ing and  facilitating  training  of  arc 
welding  operators. 

Made  in  full  color  as  well  as  sound, 
the  series  is  six  reels  in  extent.  Each 
reel  was  so  conceived  it  may  be  shown 
independent  of  the  others,  treating  com- 
pletely as  it  does  one  phase  of  arc  weld- 
ing procedure. 

Further  information  may  be  had 
from  General  Electric  Co.,  Schnectady, 
New  York. 


Castle  Cartoons 

"Puss  'n  Boots"  and  "Dick  Whitting- 
ton's  Cat"  are  two  new  fairytale  fun 
cartoons  just  released  by  Castle  Films, 
N.  Y.  City.  The  first  is  an  exciting  res- 
cue story  in  which  Puss  and  his  kitten 
family  turn  tables  on  a  wicked  Ogre. 
The  latter  film  concerns  a  cat  afraid 
of  mice.  Aided  by  his  nine  ghostly  lives 
the  cat  drives  the  pesky  mice  from  the 
palace. 

Both  films  are  available  in  either 
8mm.  or  i6nim.  from  the  usual  sources 
and  at  usual  Castle  Films  prices. 

Official  Films 

Official  Films,  Inc.,  425  Fourth  Ave., 
N.  Y.  City,  announces  that  Volume  3 
of  their  "1942  News  Thrills"  is  now 
available  for  release.  This  latest  Official 


CRAIG  EDITING  NEEDS 


CRAIG  SENIOR  SPLICER  &  COMBINATION 

Combination  incorporates  Sr.  Splicer  and 
Rewinds  .  .  .  lists  at  $21.50.  Splicer  alone, 

i. 95— Rewinds,  $5.00  each. 


Combination  includes  Splicer,  Rewinds,  water 
container  and  cement  .  .  .  lists  at  $8.95  com- 
plete.   Splicer  alone,  $3.?5 — Rewinds,  $2.50  each. 

CRJ^IG  FOTOFADE  —  makes 
smooth  Fades  and  Wipes  .  .  . 
Complete  kit,  $1.75. 
CRAIG  CINETINTS— six  crys- 
tal-clear dyes.  55c  eoch;  kit  ol 
six,  $3.25. 


At  All 
Oealeri 


(0^ 


Write  for 
literature 


mi  m  semi  wm  smoom  fAOlS  tm  VWMS 


CRAIG  MOVIE 
SUPPLY  CO. 

Los  Angeles  •  Seattle 
Son  Francisco 


fui  lift  mro  rou*  lucu  tno  wmii  movm 


HOW  TO  GET  MORE  OUT  OF  YOUR 

(/'f P/fOTOFlOODS 


...AND  BETTER  PICTURES 


2 


4 


USE  'EM  IN  GOOD  REFLECTORS.  You'll  get  more  light  to  cover 
wider  areas  or  to  stop  down  for  more  depth  of  focus, 
more  detail. 

Keep  bulbs  and  reflectors  clean.  Dust  and  dirt  can  steal  more 
light  than  you  think. 

Measure  the  distance  from  lamps  to  subject  so  you're  sure 
of  correct  exposure.  Or  use  a  good  exposure  meter. 

Turn  off  your  G-E  MAZDA  Photoflood  lamps  when  you're 
not  shooting.  They'll  last  longer. 

G-E  Photofloods  give  you  the  best  balance  of  lamp  life,  picture- 
taking  light,  color  temperature  and  low  cost  for  your  needs. 


GENERAL  ^  ELECTRIC 
MAZDA  PHOTO  LAMPS 


FOR 
BETTER 
PICTURES 


PAGE  434 


HOME  MOVIES  FOR  NOVEMBER 


* 

★ 

* 


M(265a^2  to 
tits  pultllc  and 


GOERZ 


PHOTO  LENSES 


AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 
AMERICAN -owned 

factory 

We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lensei 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
V^ar  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
From  time  to  time  there  may  be  available 
some  of  these  fine  anastigmats  for  civilian 
use  and  so  w*  invite  you  to  write  ui 
about  your  requirements  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prevailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-II 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

^317  East  34th  Street         New  York  ic 


FOR    ALL    MOVIE    FILTER  NEEDS! 

^  Harrison  CINE  KIT 


4  FILTERS  and  DUAL-SNAP  SHADE  TO  MEET 
ALL  MOVIE  FILTER  NEEDS— both  Kodachrome 
and  Black  and  White. 

The  new  Harrison  CINEKIT  contains  a  special  Aero 
Tx>ck  Ring,  a  Dual-.Snap  Aluminum  Sunshade,  and  the 
folloMing  de  luxe  Duraline  Filters;  YL-6,  GY-4, 
RD-4.  and  GR-4.  Case  is  of  durable  5-oz.  Elkhide, 
felt  lined.  $6.9S  and  up. 


(If  desired,  Kodachrome  users 
may  substitute  a  C-4  and 
HAZE  filter  for  any  two  of 

the  abore. 


Write  t-r  Fr». 
Illustrated  Folder 
Today 


HARRISON   Or  HARRISON 

OPTICAL  ENGINEERS 
8351  Santa  Monica  Blvd.  Hollywood,  Calif. 


film  contains  news  in  action-pictures 
of  the  following  events: 

U.  S.  Rangers  raiding  Dieppe  in  col- 
laboration with  Canadian  and  British 
troops;  U.  S.  Marines  capturing  Solo- 
mon Islands;  United  Nations  stopping 
Rommel's  advancing  Axis  columns;  and 
iioo  U.  S.  and  British  planes  bomb 
Germany. 

"1942  News  Thrills"  is  available  in 
several  lengths  and  prices  in  both  8mm. 
and  1 6mm. 

Ne^v  Catalog 

Schools,  Churches,  Social  clubs  and 
home  movie  enthusiasts  will  be  happy  to 
learn  that  Post  Pictures  Corp.  is  now 
issuing  a  new  catalogue  listing  i6mm. 
sound  films  for  non-theatrical  use.  This 
catalogue  contains  a  large  and  diversi- 
fied selection  of  short  subjects  and  full 
length  features  made  by  outstanding 
producers.  AH  the  films  included  have 
been  selected  for  their  wide  appeal,  edu- 
cational or  recreational  value,  and  ex- 
cellent presentation;  for  which  Post 
Pictures  have  obtained  exclusive  distri- 
bution rights. 

Special  attention  is  called  to  a  group 
of  films  including  "Flip  the  Frog,"  "Po- 
etic Gems,"  "Mickey  McGuire  Come- 


dies," and  others  which  are  offered  at 
new  low  prices. 

The  catalogue  can  be  obtained  by 
writing  Post  Pictures  Corp.,  723  Sev- 
enth Avenue,  New  York,  N.  Y. 

Films  for  Freedom 

An  attractive  red  -  white  -  and  -  blue 
brochure  just  issued  by  the  Filmosound 
Library  division  of  Bell  &  Howell  and 
titled  "Films  That  Fight  for  Freedom" 
illustrates  and  describes  the  many 
1 6mm.  motion  pictures  which  they 
have  available  on  the  subject  of  civilian 
defense. 

War  reports  by  American  and  United 
Nations  cameramen,  civilian  defense, 
democratic  principles,  aviation,  indus- 
trial training,  emergency  first  aid,  vic- 
tory gardening,  life  of  friendly  neigh- 
bors, religion,  general  education  and 
morale-building  recreation  —  are  the 
headings,  and  outstanding  new  films  are 
listed  under  each. 

There  is  also  a  discussion  of  how  to 
get  equipment,  and  an  offer  of  a  fre? 
film  "How  Motion  Pictures  Move  and 
Talk."  Copies  of  the  "Films  That  Fight 
for  Freedom"  folder  can  be  obtained 
free  by  writing  Bell  &  Howell,  Filmo- 
sound Library,  Chicago,  111. 


We  made  a  Aound  ^ilm  .  .  . 


•  Continued  from  Page  42J 

or  an  ordinary  sound  projector  while 
we  matched  lip  movements  because  the 
speed  of  these  commercial  machines  was 
found  not  accurate  enough.  We  used  a 
synchronous  motor  on  our  Cine  Special 
camera,  too.  This  motor  drove  the  caim- 
era  at  exactly  24  f.p.s.,  corresponding 
tc  our  sound  track  speed.  An  effort 
was  made  to  keep  our  scenes  as  short  as 
possible  for  two  reasons:  first,  to  make 
it  easier  to  keep  lip  movements  synchro- 
nized with  the  record  with  less  memory 
work  and  second,  to  allow  opportunity 
to  vary  the  camera  angle  and  so  reduce 
the  monotony  of  a  single  camera  posi- 
tion throughout. 

Our  "beer  parlor"  scene  opened  with 
a  table,  supposedly  in  a  tavern,  with  a 
bright,  red-checked  table-cloth  over  it, 
and  with  several  beer  bottles,  glasses, 
bottle  caps,  etc.,  serving  as  appropriate 
props.  TTiis  scene  opened  showing  the 
top  of  the  table,  then  the  camera  slow- 
ly panned  down  and  at  a  given  cue, 
three  inebriates  in  various  states  of  dis- 
array poked  their  heads  out  from  under- 
neath the  table  cloth  and  warned, 
"Stop,  Look  and  Listen."  As  the  table 
cloth  dropped,  a  "downwipe"  took  us 
to  the  next  scene. 

Our  second  shooting  session  took  care 
of  the  "gag"  scenes  used  to  fill-in  the 
4  5 -second  interval  of  music.  Our  first 


scene  was  to  show  a  robber  opening  a 
safe.  We  faded  the  music  slightly,  then 
brought-in  a  siren  strong  shortly  after 
the  scene  started.  The  air  raid  warden 
taps  the  thief  on  the  shoulder  and  points 
to  his  light.  The  ludicrous  reaction  of 
the  thief  is  to  turn  off  his  light  and  wait 
for  the  raid  to  end,  ostensibly  to  resume 
operations. 

Our  next  scene  was  of  a  couple  on  a 
divan,  obviously  too  shy  to  get  together. 
As  the  air  raid  sirens  sound,  however, 
the  male  of  the  duet  extinguishes  the 
nearby  table  lamp.  The  gal  responds 
quite  surprisingly  by  jumping  into  his 
lap.  We  used  a  special  blue  light  to  il- 
luminate the  set  after  the  room  lights 
were  snapped  off. 

Later  in  the  picture,  there  was  an- 
other ten-second  interval  during  which 
there  were  no  words  to  sing,  and  we 
found  it  necessary  to  fill-in  with  other 
photography.  We  devised  a  short  mon- 
tage showing  various  lights  going  off, 
switches  being  pulled,  etc.,  with  the 
sound  of  airplanes  from  a  stock  sound 
track  supplying  sound  simulating  a  real 
air  raid. 

For  those  who  might  ask  how  we 
matched  the  lip  movements  to  the  sound 
track  during  editing,  we  can  say  it  was 
just  a  matter  of  reading  lip  movements 


HOME  MOVIES  FOR  NOVEMBER 


PACE  435 


on  a  Moviola  film  editor  and  positioning 
the  sound  track  accordingly.  Each 
scene  had  to  be  synced  separately,  of 
course.  It  was  not  possible  to  use  the 
professional  clap  boards  for  a  picture  of 
this  sort. 

During  editing,  we  also  made  two 
sound  tracks.  One  track,  the  original 
music  track,  remained  uncut.  The  other 
contained  the  sound  effects  and  was 
later  rerecorded  with  the  music  into  one 
track  for  printing  purposes.  The  pho- 
tography was  first  edited  as  a  black- 
and-white  ""scratch"  print.  This  prac- 
tice is  common  in  both  the  professional 
and  commercial  fields.  This  cheap 
"scratch"  print  of  the  color  film  serves 
the  purpose  of  portecting  the  original 
rntil  the  picture  is  assembled  in  its  final 
form.  At  that  time,  the  orig'nals  are 
assembled  to  match  exactly  the  work 
print. 

As  a  final  touch  the  film  was  effect- 
edited  by  a  Calvin  Company  staff  edi- 
tor. Fade-outs,  dissolves  and  various 
wipes  were  added. 

The  picture  screens  for  just  a  little 
over  three  minutes.  Our  ""End"  title  was 
superimposed  over  the  last  few  seconds 
of  singing  action.  The  credit  title  fol- 
lowing this  contained  as  sound  only  the 
drone  of  planes.  Photography  was  done 
by  Lloyd  Thompson,  scenario  and  edit- 
ing by  the  writer  with  the  assistance  of 
Bob  Davis,  and  art  work  by  Fred  Kautz- 
man,  all  of  Kansas  City,  Mo. 

I 

.Movie^y  future 
kUtory.  book^  •  • 

•  Continued  from  Page  429 

Castle  Films'  "News  Para<le  of  1942" 
now  being  sold  through  camera  shops, 
departmnet  stores,  visual  aids  distribu- 
tors and  wherever  8mm.  and  i6mm. 
motion  pictures  are  on  sale  or  rented. 

Subject  to  last-minute  changes,  the 
job  of  editing  the  stupendous  events 
of  the  past  year  into  a  vivid,  compre- 
hensive reel  has  been  completed.  This 
year's  "News  Parade"  is,  for  Americans, 
the  most  significant  of  them  all,  em- 
bodying as  it  does  almost  a  full  pictorial 
year  of  the  United  States  at  war.  The 
News  Parade  of  the  Year  is  particularly 
important  because  it  is  the  only  known 
film  covering  the  news  of  the  entire 
year. 

For  us,  naturally,  the  war  activities 
of  Americans  are  of  most  interest.  The 
News  Parade  this  year  features  not  only 
the  "global  war"  as  a  whole,  but  also 
our  relationship  to  it.  There  are  vivid 
scenes  of  our  armed  forces  in  Iceland, 
the  British  IsJes,  China  and  India. 
Somehow,  these  pictures  of  Americans 
on  the  far-flung  battle  fronts  do  more 
than  anything  else  to  bring  home  the 


''Oft  OK^  (Hwce  MmefM 

MAKE  YOUR  TRANSITIONS 
WITHA^^ 

CINE  FADER 


tect 


Thousands  of  movie  makers  have  testified 
to  the  efficiency  of  this  precision-built,  auto- 
matic "trickster".  64  varieties  of  fades  and 
vignettes  can  be  made  with  the  BOOL  on 
any  movie  camera.  Perfectly  timed  lap- 
dissolves  when  used  on  movie  cameras 
with  rewinding  mechanism.  Built  in 
Switzerland,  of  stainless  steel,  with  pre- 
cision clock-work  mechanism  to  last 
for  years.  You  simply  fasten  it  to  your 
camera  lens  by  means  of  adjustable  set- 
screws— any  camera  lens  for  8mm  and 
1 6mm— wind  the  mechanism  and  press 


the  button-the  BOOL  CINE  FADER 
does  the  rest.  Booklet  with  BOOL  gives 
complete  instructions  for  all  transitions. 
So  simple,  anyone  can  do  it. 

Still  priced  at  $18.75  including 
Excise  Tax,  while  they  last.  At  your 
dealer's,  or  order  from  us  direct. 
Fully  guaranteed. 


155  Ult  44tll  $lrt»l,  N«w  Yofk,  M.Y.,  Weil  Cooit  Reprejenioiive:  Fronk  A.  Emmet  Co.,  2707  W.  Pico  St.,  Lot  Angeles,  Collfornio 


HOMf  MOV/fS 

TITLE  CENTERING 
GUIDES 

EACH 


Available  for  every  popular  make  and 
mode:)  8mm.  and  16mm.  cine  camera  are 
these  simple  centering  guides  that  assure 
quick,  accurate  centering  of  camara  with 
title  bo^rd — regardless  of  size  of  title 
cards  used. 

Merely  place  guide  in  card  holder  (with  typewriter  titlers)  line  up  through  camera  viewfinder, 
and  shoot  title.  Large  title  areas  require  enlarging  guide  lines  with  ruler  and  pencil  according  to 
illustrated  instructions. 
Centering  guides,  printed  on  durable  paper  stock,  available  for  the  following  cameras:: 
SMM.  REVERE  (ALL  MODELS)  8MM.  KEYSTONE 

8MM.  MAGAZINE  CINE  KODAK  I6MM.  CINE  KODAK  'K" 

8MM.  SINGLE  LENS  FILMO  FILMOS— ALL  "yO"  MODELS 

8MM.  TURRET  FILMO  I6MM.  FILMO  "121" 

8MM.  CINE  KODAK  20  I6MM.  FILMO  "141" 

8MM.  CINE  KODAK  25  I4MM.  CINE  KODAK  E 

8MM.  CINE  KODAK  40  I6M.  VICTOR 

I6MM.  KEYSTONE  A3,  A7  AND  81 

BE  SURE  TO  SPECIFY  MAKE  AND  MODEL  OF  CAMERA  WHEN  ORDERINC! 

HOME  MOVIES  eoeo  sunset  boulevard,  HOLLYvy^ooD,  caliif. 


PAGE  436 


HOME  MOVIES  FOR  NOVEMBER 


New  Features  for  Your  Filmo 

•  If  you  want  features  oflfered  by  newest 
Filmo  models  which  your  dealer  can't  de- 
liver immediately,  chances  are  that  B&H 
craftsmen  can  add  them  to  your  present 
Filmo  Camera  or  Projector.  Xew  "Mod- 
ernization Folders"  give  details  and  costs. 
Ask  your  dealer  or  write,  stating  your  Filmo 
model. 

Use  This  Timely  NEW  SERVICE 

•  If  you  own  a  Bell  &  Howell  Camera  or 
Projector,  you  have  something  that  might 
be  difficult  to  replace  now.  So  you'll  want 
to  take  especially  good  care  of  it.  Uo  this 
with  assurance  and  economy  by  using  our 
new  Standard-Price  Sen  ice  Plan.  See  your 
dealer  or  write  for  prices  on  the  three 
classes  of  our  new,  economical,  mainte- 
nance and  repair  service.  Bell  &  Howell 
Company,  1825  Larchmont  Ave.,  Chicago; 
New'i'ork;  Holh-wood;  Washington,  D.  C; 
London.  Established  190'. 

PRECISION-MADE  BY 


8MM. 


KODACHROME 
TRAVEL  FILMS 


16MM. 


SUPERB  FILMS  IN  GLORIOUS  COLOR 
"WAIKIKI  HULA  GIRLS."  filmed  in  Hawaii.  Tou 
will  be  delighted.  Color  Sample  for  10c  in  coin,  and 
complete  lists.  A  4  ft.  gmm.  or  5  ft.  16mm.  color 
strip  for  projection,  $1.00.  We  offer  hundreds  of  tine 
film  subjects  for  grown-ups;  for  children;  color, 
black  and  white,  silent  or  sound.  Not  to  be  confused 
with  cheap  toy  films. 

MOVIE  TITLES  ARE  EASY  TO  MAKE 
CINE-KODAK  POSITIVE  TITLE  FILM— frscored. 
Speed  H  in,  Phot.^fl'^vi  Light.  Laboratory  Packed. 
Dbl.  S— 33  ft.  6.5c;  100  ft.  $1.4.5;  400  ft.  $5.00; 
Sgl.  8—33  ft.  4.5c:  100  ft.  $1.00:  400  ft.  $3.50; 
16mm.  100  ft.  Sl-10:  400  ft.  $4.40. 
Clear.  Purplehaze,  Tellow.  Bed.  Amber,  Special  Blue 
— ^Also  DuPont  Lavender,  Light  Amber.  Smm.  Pink. 
CAMERA  SPOOLS  WITH  CANS— Each 

Double  5  50c   T'nivei   Single  8  15c 

Keystnne  Dbl.   8  _50c   Keystone   Single   8  45c 

EXTRA  CAN'S.  Double  Smm  and  Single  8  size_05e 

100  ft.   and  50  ft.   16mm  10c 

4'"iO    ft.    size  50c 

Title   InstriKtions   Free  with  Film  Orders 
Cash.  Check  or  M.  O.  for  quick  service. 
Add  25c  for  Special  Delivery.  Overpayments  refimded 
or  credited.  No  stamps,  please. 

MISCELLANEOUS 
BAIIA  Precision  All-Meial  Smm.  Film  Slitter_$2.75 
FOTOFADE  DTE  for  mating  Chemical  Fades—  1.25 

FOTOFADE  WLPE-OFF  TAPE,  per  roll   .60 

CIXETINT5,  Set  6  Colors  with  Instructions   3.25 

DuPONT  VISCOSE  SPONGES,  each  .35 

HOilE  MOVIES.  Back  Issues,  1537-38  .15 

Nt-  all  mrn-.hs  in  any  year.  1940-41-42   .30 

TITLE  DEVELOPER,  tubes,  each  make  16  oz—  .15 
HTPO  rrsiNG  BATH,  tubes,  each  make  16  oz.  .15 
PARTY  RECORDS — Something  New  in  Adult  En- 
tertainmen;.    Also    RECORDINGS    XIADE  TO 
ORDER — Mu=ic  and  S"und  Effect  Records  for 
H-me  M-t-Ties. 

Phone    Lincoln  1207 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  ST.  OSEPH  ST. 


INDIANAPOLIS.  IND. 


GRADUATE  TO  A  Scemann 


unity  of  the  war — the  "oneness"  of  the 
struggle. 

Scenes  of  severe  air-fighting  are 
shown  around  the  vital  outposts  at 
Dutch  Harbor,  Alaska,  Port  Moresby, 
New  Guinea,  and  Darwin,  Australia. 
The  fury  of  the  Jap  attacks  on  these 
strategic  points  shows  their  importance 
as  military'  bases.  As  the  coverage  of  the 
global  conflict  continues,  we  gain  in- 
sight to  the  never-ending  Battle  of  the 
x^rbntic.  Ships  go  down — too  many  of 
them  for  comfort — but  we  see  also  the 
steadily  tightening  measures  of  counter 
warfare,  from  giant  convoys  to  depth- 
bombing  patrol  planes. 

Xe.xt  reviewed  is  war  on  the  home 
fiont.  '^"ar  Production  Board  Chairman 
Nelson  gives  a  grim  warning  that  we 
are  not  yet  doing  our  best.  There  are 
glimpses  of  just  a  few  of  the  weapons 
that  soon  will  make  our  enemies  sing  a 
different  tune.  Tanks  in  mass  produc- 
tion. Gigantic  seaplanes  take  the  air. 
The  new  Army  Commando  Planes  to 
carr)'  air-borne  infantr)'  and  even  Jeeps 
and  artillery!  New  Liberty  ships  slide 


down  the  ways  in  ever  increasing  num- 
bers. New  fighting  vessels  are  launched. 
The  scene  shifts  to  our  neighbors  to  the 
south.  Mass  demonstrations  hail  the  en- 
try of  Brazil  into  the  war — another 
link  in  the  United  Nations'  chain! 

Amazing  action  shots  are  seen  of 
Russia  engaged  in  her  life-and-death 
struggle  against  the  ruthless  invaders. 
Russia  fights  on,  adding  new  leaves  to 
her  laurels  and  gaining  precious  time  for 
her  allies  to  mount  an  offensive.  Eng- 
land's Churchill  flies  to  Moscow  for  a 
series  of  vital  conferences  with  Stalin. 

The  prelude  to  the  second-front  of- 
fensive which  must  come  is  seen  in  the 
e^er-growing  strength  and  fury  of  the 
R.  A.  F.  attacks  on  Occupied  France 
and  Nazi  Germany.  American  bombers 
participate!  Then  the  daylight  Com- 
r-'pndo  and  American  Ranger  raid  on 
Dieppe,  France  is  shown,  the  real  tip- 
off  to  the  serious  business  ahead.  Other 
as  yet  un-announced  last-minute  shots 
to  reach  Castle  offices  complete  this  his- 
tor  c  moving  picture.  These  films  will 
be  the  "collector's  items"  of  the  future. 


dn    my.  film  win  .  .  . 


rl*6  BfVOlT  lOUirVMO 


•  Continued  from  Page  42  y 

interrupted  by  frequent  parting  of 
splices.  It  is  unfair,  of  course,  to  espect 
the  judges  to  patch  films  as  they  review 
them  and  the  interruptions  thus  caused 
detracted  from  the  films'  appeal. 

In  addition  to  the  above  faults  in  use 
of  picture  making  equipment,  many 
pictures  failed  because  of  lack  of  con- 
tinuity, bad  sequencing,  or  inadequate 
titling  and  editing.  Outstanding  per- 
haps, was  the  lack  of  close-ups  in  many 
fi.lms — pictures  would  begin,  roll  on, 
and  end  all  in  long  shots  without  a 
single  long  or  medium  shot  cut  in  to 
emphasize  important  points.  Vith  one 
picture  in  particular,  its  success  de- 
pended upon  a  surprise  twist  in  the  fi- 
nal scene.  Yet  this  scene  was  played 
in  a  medium  shot  instead  of  the  tight 
closeup  that  would  enable  spectators  to 
catch  the  gag  instantly  to  make  it  suc- 
cessful. 

Inadequate  or  just  poor  titling  con- 
tinues to  be  the  one  big  stumbling  block 
of  many  amateurs.  Lack  of  sufficient 
descriptive  titles  tops  the  list  of  short- 
comings, with  poor  title  composition 
ne.xt.  Technical  quality  of  titles,  sur- 
prising enough,  was  considerably  better 
than  in  previous  years,  proving  that 
amateurs  are  learning  /x>Jf  to  make  ti- 
tles. Many,  however,  tired  easily;  made 
a  main.  end.  and  possibly  one  or  two 
sub-titles  for  their  films,  and  called  it 
a  day.  This  criticism  applies,  of  course, 
where  the  film  definitely  needed  more 
titles  to  explain  the  picture  and  make  it 


more  coherent.  Many  contestants  need 
to  study  more  the  art  of  composing  a 
descriptive  or  spoken  title,  to  under- 
stand the  magic  which  well-worded 
titles  impart  to  a  picture.  "WTiite  Wa- 
ters" which  placed  first  among  the 
documentary  films  and  received  the 
achievement  award  for  titling  is  a 
splendid  example  of  fine  title  composi- 
tion. The  captions  aroused  interest  in 
the  picture  at  once  and  held  it  until 
the  final  scene. 

Many  contestants,  especially  those 
who  submitted  travel  and  vacation 
films,  failed  to  maintain  interest  in 
their  pictures  through  the  medium  of 
sequencing  built  on  patterns  of  long, 
m.edium  and  closeup  shots.  Behind  this 
fault,  of  course,  was  the  lack  of  fore- 
thought in  planning  a  filming  expedi- 
tion. In  many  films,  there  were  shot 
after  shot  of  scenic  vistas,  but  few  in- 
terest-holding sequences  of  people  do- 
ing things  within  the  scenes.  By  neglect- 
ing the  human  interest  angle  and  fail- 
ing to  inject  interesting  shots  of  sub- 
jects close  to  everyday  life,  these  filmers 
left  out  the  real  motivating  factors  of 
their  pictures. 

Last  and  no  least  important,  many 
pictures  lacked  a  general  theme.  Ob- 
viously these  films  were  not  planned  as 
contest  entries  at  the  time  they  were 
photographed,  but  were  sent  in  later  af- 
ter the  whole  had  been  spliced  together 
and  titled.  Here,  drastic  cutting  and  re- 
titling  would  have  done  wonders.  There 
were  several  entries  in  the  contest  run- 


HOME  MOVIES  FOR  NOVEMBER 


PAGE  437 


with  the  new  8  mm 
Baia  FILM  VIEWER 


ning  hundreds  of  feet  in  length  that 
might  be  trimmed  as  much  as  50  per 
cent  and  thus  become  the  equal  of  many 
trophy  winners. 

Indeed,  except  where  poor  photog-- 
raphy  prevails,  almost  every  film  that 
did  not  place  in  the  contest  can  be  im- 


proved by  re-editing,  re-titling,  or  both. 

In  short,  a  clear  cut  idea,  good  pho- 
tography that  includes  interesting  cam- 
era angles  and  closeups,  plus  a  ruthless 
use  of  the  scissor  in  editing,  and  ade- 
quate titling  invariably  land  a  film  in 
the  winners'  circle. 


Quide  to  indoor  expoiurei 


•  •  • 


Winter  time  is  indoor  filming  time 
— time  to  get  out  photofloods  and  re- 
flectors for  filming  movies  of  festive 
days  ahead  —  Thanksgiving,  Christmas 
and  New  Years. 


A  guide  to  quick  exposure  setting 
where  photofloods  are  used  is  the  table 
below  which  is  based  upon  use  of  pho- 
tofloods with  approved  reflectors  and 
careful  attention  to  footnote  data. 


EXPOSURE  TABLES  FOR  PHOTOFLOOD  LAMPS 

For  Use  with  Good  Reflectors 


Distance 

Lamps 

'Diaphragm  opening  for  films 

with 

to 

Weston  Mazda 

speeds  of 

Phntnf  InnH 

Subject 
in  Feet 

Lamps 

3 

5 

4 

8 

14 

20 

31/2 

1  f2.8 

f3.5 

f4.5 

f5.4 

f6.3 

4 

f2.8 

f4.5 

f5.6 

f8 

fl.9 

f3.5 

f4.5 

5 

f2.8 

f4.3 

fS 

51/2 

f  1.5 

fl.9 

f3.5 

f5.4 

One 

i 

fl.9 

f2.8 

f4.3 

No.  1 

41/2 

f4.5 

Lamp 

7 

fl.5 

fl.9 

f2.8 

f5.4 

In 
8 

w/2 

9 
10 
II 

fl.5 

fl.5 

fl.9 
fl.5 

fl.9 

1 1 .7 

f3.5 
f2.8 

IH.D 

f3.5 

3'/2 

f3.5 

f4.5 

f5.4 

f4.3 

f8 

4 

f3.5 

f4.5 

f4.3 

f8 

fll 

4'/2 

f2.8 

f5.4 

f4.3 

5 

f3.5 

f4.5 

f5.4 

fll 

5'/2 

f2.8 

f3.5 

f5.4 

fS 

& 

fl.9 

f2.8 

f4.5 

Two  No.  I  s 

4IA 

"  /2 

f4i 

f4.3 

« 

or 

7 

f2.8 

f3.5 

One  No.  2 

8 

fl.5 

fl.9 

f3.5 

f5.6 

f6.3 

or 

8I/2 

f2.8 

One  No.  R2 

9 
10 
II 
12 

fl.5 

f., 
fU 

«l.9 

z: 

fl.9 

f2.8 

f3.5 
f2.8 

f4.5 
f3.5 

f5.4 
f4.5 

13 

14 

fl.9 

I& 

fl.5 

fl.9 

f2.8 

f3.5 

31/2 

f5.a 

f8 

fll 

4 

f4.5 

15.4 

f8 

fl4 

41/2 

f3.S 

mJ; 

f6.3 

f8 

5 

f2.8 

f5.4 

fll 

51/2 

f3.5 

f4.5 

f4.3 

6 

f3.S 

fS.6 

f4.3 

fll 

Three  No.  I's 

6'/2 

fl.9 

f2.8 

f2.8 

f3.5 

f4.5 

f5.4 

fS 

or 

One  No.  2 

71/2 



  f4.5 

81/2 

fl.9 

f2.8 

f3.S 

f4.5 

f4.3 

f8 

and 
One  No.  1 

9'/2 

fl.5 

f3.5 

f5.4 

101/2 

fl.9 

f2.8 

f3.5 

f4.3 
f5.4 

f4.5 

II 

12 

121/2 
14 
15 
16 

fi.'5 

fl.5 

fi.9 

fi'.s 

fl.9 

f2.8 

f2.8 

f4.5 
f3.5 

3'/2 

4 

f5.4 

f4.3 

fll 

f4.5 

f5.6 

f4.3 

fll 

fl6 

41/2 
5 

f3.5 

f4.5 

f5.4 

f8 
f4.3 

f8 

fl4 

Four  No.  r$ 
or 

Two  No.  2's 

51/2 
& 

41/2 
7 

f2.8 

f3.5 

f4.5 



f3.5 

f4.5 

fS.i 

f4.3 
f5.4 

f8 



f4.3 

fll 



fll 

or 

Two  No.  R2's 

7'/2 

8 

f2.8 



f3.5 

f4.5 

f5.4 

fS 

or 

One  No.  2 
and 

8I/2 

9'/2 

fl.9 





f2.8 

f2.8 



f3.5 

f4.5 



f4.5 

f4.3 



f8 

Two  No.  I's 
or 

One  No.  4 

10 

II 

fl.5 

fl.9 

f2.8 

f3.5 

f5.4 

12 
13 
14 
15 
17 

fl.9 

f2.8 

f3.5 

f4.5 

f4.3 

fl.5 

fl.9 

f5.4 

fl.5 

f2.8 

fl.9 

f3.5 

f4.5 

18 

1  

fl.5 

*For  Weston  speeds  of  popular 
another  page.  (See  Table  of 
This  data  based  on  interiors  and 
For  light  colored  subjects  and 
For  dark  colored  subjects  and 


films  refer  to  Exposure  Meter  Guide  on 
Contents.) 

subjects  of  medium  color. 

interiors  close  diaphragm  one-half  stop. 

interiors  open  diaphragm  one-half  stop. 


It's  the  low-priced 
viewer  that  profes- 
sionals and  amateurs 
have  been  waiting 
for!  The  brilliant 
ima^e  can  be  viewed 
with  both  eyes  at 
the  same  time.  Con- 
tains accurate  film 
notcher  eliminating 
waste  in  splicing. 


THE  PERFECT  XMAS  GIFT 
FOR  THE  8MM.  HOME 
MOVIE  FAN.  See  your  dealer 
now. 


/^te^  PHOTO  SUPPLY 

918  DELMAR        ST.  LOUrS,  MO 


fVfRy   8MM.    fAH  WANTS 

CINE  EXTENAR 

It's  the  new  WIDE  ANGLE 
lens  that  every  cine  fan 
needs  to  catch  the  whole 
picture.  Simply  screws 
over  regular  8mm.  lens, 
providing  identical  focus 
and  definition  plus  a  WIDE 
ANGLE.  $27.50 
For  full  particulars,  write  today 

CAMERA   SPECIALTY  CO. 

48  West  29th  Street       New  York  City 


NOW!!!  Speiiil  less  to  own  and  operate  your 
movie  camera — Load  with 

ONYX  MOVIE  FILM 


ONYX 

8 


ONYX 

24 


ONYX 

Hi-Speed 


100  ft.  16  $2.25    $4.25  $4.75 

25  ft.  8/8         1.00      1.50  1.65 

30  ft.  Univex.     .65        .95  1.10 

RATINGS  —  8-24-50  for  Daylight 
Reversal  Processing  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 

details  of  NEW  %mm.  RENTAL  LIBRARY. 

KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO,  ILL. 


16mm  SOUND  on  Film 

Recording  Studio  and  Editing  Facilities 

BERNDT-MAURER  RECORDER 
CEO.  W.  COLBURN  LABORATORY 

995-A    Merchandise   Mart  CHICAGO 


When    You    Buy  BAIA 
You  Buy  the  Beit 

Precision  Madei 
Gnaranteed  Perfect 

$2.75 

Prom  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
166  Victor 
Hlshland  Park.  Hlehlcan 


PACE  438 


HOME  MOVIES  FOR  NOVEMBER 


Hollywood  Sepia 


my 


ESO-C 


OUR    MOST    POPULAB  MONO- 
COLOB    8mm.    Emulsion    for  all 
double    8mm.    cameras.    $1.30    includes    spooling  and 
processing  without  additional  charge.  Silt  to  the  single 
Smm.    width,    ready   for   projection.    For   those  Autunui 
home  movies  In  the  popular  sepia  currently  used  in  many 
Hollj-wood    productions.    (These   emulsions   available  for 
single-run  Smm.  Univex  cameras  also.  Write  for  prices.) 
ESO-C — Sepia  ortho  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supple- 
ment for  your  Kodachrome  movies.  Weston  8-2.  $1.30 
per  spool.  $3.70  per  three  spools. 
ESO-B — ^Super-orchochromttic  film,  full  antl-halu  protec- 
tion for  use  on  exteriors  and  Interiors.  Over  twice  as 
fast  as  ESO-A.  Weston  12-4.  $1.25  per  spool.  $3.45  per 
three  spools. 

ESO-E — DuPont  super-speed  panchromatic  film,  for  dark 
exterior  and  interior  pliotography.  Eight  times  as  "fast" 
as  ESO-B.  Weston  100-GO,  $1.90  per  spool.  $5.50  per 
three  spools. 

ESO-F — DuPont  super-panchromatic  film,  for  dull  days 
and  interior  photography.  Over  twice  as  "fast"  as 
ESO-B.  Weston  24-16,  $2.00  per  spool.  $5.70  per 
three  spools. 

ESO-G — A    scarlet    semi-orthochromatic    film    with  full 
anti-halo  base.  Recommended  for  exteriors  only.  Pro- 
jects a  pleasing  monocolor  picture  .  .  .  ideal  as  supple- 
ment for  Kodachrome  movies.  Also  for  titling  color  mov- 
ies. Weston  8-2.  $1.25  per  spool.  $3.35  per  three  spools. 
Ask  for  your  Fall  catalog  of  short  subject  films,  spooled 
films,  accessories,  and  titling  service. 
OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantee  these  Smm.  films  and  will  replace  any  film 
purchased  or  refund  the  full  purchase  price  if  you  are  not 
fully  pleased  with  your  results.  You  MUST  be  satisfied! 
AT  YOUR  DEALERS  OR  BY  DIRECT  MAIL. 

ESO-S  PICTURES 

"Qutlity  tmm  Servict" 
3945  Central  Street  Kansas  City.  Missouri 


At  Your  Favorite  Camera  Store 

^€^e<i^  "VICTORY" 

No  Metal  REEL  FILES 

3  Volume  De  Luxe  Library  Series, 
holds  18  200-ft.,  8-mm  reels.  Black  - 
or  brown  carrying  case  with  swivel 
hinge  front  cover.  Dustproof.  Re- 
movable index.  Complete  with  18  plas- 
tic reels  and  case,  $  1 6.75 ;  without  reels, 
$10.  Individual  Files  hold  6  200-ft., 
8-mm  reels.  Complete  with  6  plastic 
reels,  $4.75;  without  reels,  $2.50. 

Write  for  descriptive  circular 
WESTERN  MOVIE  SUPPLY  CO. 
254  SUTTER  STREET,  SAN  FRANCISCO 


8mm.- 1 6mm. -35mm. 

KODACHROME 

OF  THE  BEAUTIFUL 

CAVERNS 
of   L  U  R  A  Y 


This  extremely  interesting  and  most  unusual  film 
will  make  a  valuable  addition  to  your  film  library. 


36-2x2  KODACHROME  SLIDES — *  for  $  1.00 

100  Ft.  16mm.  KODACHROHE  P  P  10.00 
50  Ft.  16mm.  KODACHROME  0  A  6.00 
50  Ft.   8mm.  KODACHROME  S     I  6.00 

25  Ft.   Smm.  KODACHROME  T    D  3.50 


LURAY  CAVERNS,  Bx.  1  076.  Luray, Va. 


DEVELOP 

YOUR  OWN  MOVIES 

IT*S  EASY  AND  THRILLING 

Send  for  one  of  these  low  cost  sets  apd  develop  your 
own  movies!  Consists  ol  (lev  oloinnp:  rack.  tray,  safc- 
1  Ite.  and  set  of  prepared  developing  powders.  Simple 
step-t»y-step  instructions  insure  Kood  results.  Order  today. 
SIMPLiriED  DEVELOPING  OUTFITS  includincr  our 
Prepared  Chemicals.  For  3o  ft.  Single  8.  $4.20; 
3.T  ft.  Obi.  8  &  16,  SS.9S.  Instructions  furnished  Free. 
Powders  only:  I'-.  Gal.  Set.  SI. 30;  One  Gal.  Set.  SI. 95, 
Write  for  Big  Bargain  Circulars,  our  bulk  film  prices. 

FROMADER  GENERA  COMPANY.  Davenport  la- 


p- 


Hi 


UNDER  THE  SUN  . 


There  IS  sonnething  new. 

T'velve  beautiful  Kodachrome  subjects  available  in 
both  8-16mm.  Designed  for  adult  audiences.  Descrip- 
tions, sample  tor  dime,  or  send  $1.00  for  projection 
length  test  film  from  "Wailtlltl  Hula  Girls." 

HAROLD  F.  JENKINS 

108  W.  Church  Street                 Elmira,  N.  Y. 
□  d 


•  Continued  from  Page  424 

be  found  in  the  libraries  of  average  mu- 
sic stores  and  are  listed  here  according 
to  mood: 

Calm  and  Peaceful 

Spring  Song  (Mendelssohn) 
Narcissus  (Nevin) 
Hungarian  Rhapsody  II  (Liszt) 
Afternoon  of  a  Farm  (Debussy) 
Andane  Cantabile  ( Tschaikowsky ) 
William  Tell  Ovt.  (i  &  5)  (Rossini) 

Sad,  Slow 

River  Moldau  (Snietana) 
Largo-New  World  Symp.  (Dvorak) 
Valse  Tristc  (Sibelius) 
Andante  Cantabile  (Tschaikowsky) 

Light 

Mignon  Overture  (Thomas) 
Poerae  (Fibich) 

Anitra's  Dance  (Peer  Gynt)  (Griegg) 
Benvenuto  Cellini  Overt.  (Berlioz) 
Dance  of  the  Hours  (Ponchielli) 

Gay 

Poet  and  Peasant  Overture  (Suppe) 
Entry  of  the  Gladiators  (Fucik) 
Parade  of  Wooden  Soldiers  (Jessel) 
Zampa  Overture  (Herold) 
Bartered  Bride-Ballet  (Smetana) 
Dance  of  Mirlitons  (Nutcrack.  Tschaik) 

Fast 

Light  Cavalry  Overture  (Suppe) 


Hungarian  Dances  5  &  6  (Brahms) 
Pique  Dame  Overture  (Suppe) 
Prelude  in  G  minor  (Rachmaninoff) 
Hungarian  March  (Berlioz) 
Tannhausser  Pt.  2  Overt.  (Wagner) 
Flight  Bcmble  Ree  (Rimsky-Korsakov) 

Majestic 

Die  Meistersinger  Overt.  (Wagner) 
Tannhausser  Overture  (Pt.  i)  (Wagner) 
Siefried  Funeral  March  (Wagner) 
Aida-Grand  March  (Verdi) 
Marche  Slave  (Tschaikowsky) 

Wild,  Tempestuous 

William  Tell  Overt.  (Pt.  4)  Rossini 
Flying  Dutchman  Overt.  (Wagner) 
Die  Walkucre-Ride  Valkyries  (Wagner) 
Ricnzi  Overture  (Wagner) 
Overture  of  1812  (Tschaikowsky) 

Wierd,  Mysterious 

Dance  Macabre  (Saint-Saens) 
Fingal's  Cave  Overt.  (Mendelssohn) 
Night  on  Bald  Mt.  (Moussorgsky ) 
Cathedral  Engloutie  (Debussy) 
Sorcerer's  Apprentice  (Dukas) 

Dance 

Blue  Danube  Waltz  (Strauss) 

Emperor's  Waltz  (Strauss) 

Tales  from  Vienna  Woods  (Strauss) 

Skater's  Waltz 

Minuet  (Bocherini) 

Glow  Worm  (Finche) 


Movie  of  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submiaed  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1941 

DECEMBER:  "Do  It  Again,  Harry," 
produced  by  Herman  Bartel,  New  Ro- 
chelle.  New  York.  A  16mm  Kodachrome 
picture,  800  feet  in  length. 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  (3eorge  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Ceurts,  Salt  Lake  City,  Utah.  A 
16mm  Kodachrome  production,  700  feet 


"Rita  of  Rocky  Ranch,"  pro- 
Roland  Ray,  Los  Angeles, 
Smm.  picture,  400  feet  in 


ir  length. 

APRIL: 
duced  by 
Calif.  An 
length. 

MAY:  "Oliver  Twist,"  produced  by 
David  E.  Bradley,  Winnetka,  Illinois.  A 
16mm.  picture  approximately  4000 
feet  in  length. 

JUNE:  "A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  8mm.  Koda- 
chrome picture,  200  feet  in  length. 

JULY:  "White  Waters"  produced  by 
C.  A.  Willis,  Merced,  Calif.  A  16mm. 
Kodachrome  picture,  400  feet  in 
length. 

AUGUST:  "Madame  Hummer  At 
Home,"  produced  by  Mrs.  Warner 
Seely,  Cleveland,  Ohio.  A  16mm.  Kod- 
achrome picture,  800  feet  in  length. 

SEPTEMBER:  "Murder  By  Magic," 
produced  by  Ad-libber  Productions, 
Pasadena,  Calif.  An  8mm.  picture,  300 
feet  in  length. 

OCTOBER:  "Pottery  Making  As  a 
Hobby,"  produced  by  V.  L.  Saint,  Lyons, 
Kansas.  A  16mm.  Kodachrome  picture, 
400  feet  in  length. 

NOVEMBER:   1  No  award)  . 


HOME  MOVIES  FOR  NOVEMBER 


PACE  439 


Movie  amateurs  will  find  further  as- 
sistance in  selecting  a  library  of  records 
in  the  many  books  available  describing 
the  moods  and  content  of  classical  mu- 
sic. An  example  is  Cobbett's  Cyclopedic 
Survey  of  Chamber  Music,  also  Grove's 
Dictionary. 

In  addition  to  musical  recordings, 
sound  effect  recordings  are  also  avail- 
able— many  of  them  from  musical  deal- 
ers or  directly  from  makers  of  records. 
Any  home  movie  that  is  filled  with  ac- 
tion will  be  the  more  realistic  when 
screened  if  recorded  sound  effects  are 
also  added  to  the  presentation. 

Combination    phonograph  -  recorders 


have  now  become  so  popular  and  inex- 
pensive that  many  amateurs  have 
availed  themselves  of  the  opportunity 
to  make  complete  recordings  for  their 
films  on  this  equipment,  combining 
background  music,  narrative  dialog  and 
sound  effects  in  one  recording.  With 
priorities,  however,  causing  recording 
equipment  to  become  scarcer  every  day, 
most  amateurs  must  be  content  with 
playing  musical  recordings  with  their 
films  for  the  duration.  But  the  skill  they 
will  acquire  in  this  comparatively  new 
phase  of  their  hobby  will  better  prepare 
them  for  the  wider  field  of  sound  for 
home  movies  that  is  certain  to  open  up 
for  them  after  the  war. 


Salvaae  ikoie  ihoti 


•  Continued  from  Page  428 

intensifier  known  that  will  not  change 
color  of  the  image  on  reversal  or  posi- 
tive film.  It  gives  proportional  intensi- 
fication and  is  easily  controlled  by  vary- 
ing time  of  treatment: 

Stock  Solution  No.  1 

Avoirdupois  Metric 
'■'Silver  Nitrate,—    2  Ozs.      60.0  grams 
Distilled  Water 

to    make  32  Ozs.        i.o  liter 

•  Store  in  brown  bottle. 

Stock  Solution  No.  2 
Sodium    S  u  1  -  ■ 
phite,  desic- 
cated, (East- 
m  a  n  Kodak 

Co.)    —    2  Ozs.      60.0  grams 

Water  to  make.—  32  Ozs.        i.o  liter 

Stock  Solution  No.  3 

Hypo   yYz  Ozs.     105.0  grams 

Water  to  make.-  32  Ozs.        1.0  liter 

Stock  Solution  No.  4 
Sodium    S  u  1  - 
phite,  desic- 
cated, (East- 
m  a  n  Kodak 

Co.)    /4  Oz.      1 5.0  grams 

Elon   345  grains      24.0  grams 

Water  to  make..  96  Ozs.        3.0  liters 

Prepare  the  intensifier  for  use  as  fol- 
lows: Slowly  add  i  part  of  solution  No. 
2  to  I  part  of  solution  No.  i,  shaking 
or  stirring  to  obtain  thorough  mixing. 
The  white  precipitate  which  appears  is 
then  dissolved  by  the  addition  of  i  part 
of  solution  No.  3.  Allow  the  resulting 
solution  to  stand  for  a  few  minutes 
until  clear.  Then  add,  with  stirring,  3 
parts  of  solution  No.  4.  The  intensi- 
fier is  then  ready  for  use  and  the  film 
should  be  treated  immediately.  The  de- 
gree of  intensification  obtained  will  de- 
pend upon  the  time  of  treatment  which 
should  not  exceed  25  minutes. 

Examine  the  film  closely  at  frequent 
intervals  to  determine  when  proper  de- 


gree of  intensification  has  been  reached, 
then  remove  the  film  from  the  solution 
and  immerse  it  for  at  least  two  minutes 
with  agitation  in  a  plain  30  per  cent 
hypo  solution.  Follow  this  with  a  thor- 
ough washing  in  cold  water,  either  run- 
ning or  changed  at  frequent  intervals. 
Do  not  allow  a  stream  of  water  to  play 
on  the  film  at  any  time  as  this  will  dam- 
age the  emulsion.  After  the  film  has 
been  thoroughly  washed  subject  it  to 
drying  by  wiping  off,  with  a  chamois  or 
viscose  sponge,  all  excess  water.  Suspend 
film  where  a  flow  of  air  will  complete 
the  drying  process. 

Intensification  seldom  gives  as  much 
improvement  in  a  film  as  is  necessary  to 
make  a  good  shot  out  of  a  bad  one,  and 
unless  the  shot  is  an  important  one 
which  cannot  be  retaken,  it  is  hardly 
worth  the  trouble.  On  the  other  hand 
an  underexposed  shot,  unless  it  is  so  dark 
as  to  be  pretty  well  opaque,  can  usually 
be  thirmed  out  suflSciently  to  be  worth 
the  trouble  of  reducing  it. 


continuity.  .  •  . 

•  Continued  from  Page  421 

an  interesting  print.  With  the  cinefilm- 
er,  he  must  make  his  shot  right  at  the 
beginning.  And  certainly  the  wide- 
spread practice  of  still  photographers 
in  cropping  their  shots  in  the  final  print- 
ing stage  proves  the  theory  that  ex- 
cluding extraneous  subject  matter  from 
a  scene  and  concentrating  on  the  main 
subject  or  subjects,  makes  the  most  in- 
teresting picture. 

Once  the  movie  amateur  understands 
the  importance  of  ultimately  accenting 
his  pictures  with  closeups,  he  will  be- 
gin to  understand  the  fundamentals  of 
good  movie  editing  and  will,  as  a  result, 


Give  Your  Audience  a  Laugh  .  . 

vfith 

"Flip  the  Frog" 
Cartoons 

In  16mm.  Sound 

"Spice"  your  movie  pro- 
gram with  the  amusing 
antics  of  jolly  "Flip."  He's  the  cleverly  ani- 
mated cartoon  character  that's  brightening 
up  the  screen  with  his  fantastic  adventures 
at  the  circus,  in  a  lunchroom,  and  in  many 
other  settings. 

1  Reel  Each  Approx.  «  min.  $17.50  Each 
—  Other  interesting  POST  shorts:  — 
"Poetic  Gems"  by  Edgar  Guest 

I    reel,    10  minutes  $17.50 

Port  O'Call  Travelogues 

1  reel,   10  minutes  $17.50 

"Mickey  McGuire"  Comedies 

2  reels,   20   minutes  $45.00 

Western  Featurettes 

2   reels,  20  minutes  $45.00 

ORDER  FROM  YOUR  FILM  LIBRARY— TODAY. 
Free  Catalog  Sent  on  Request. 

POST  PICTURES  CORP. 

723  7th  Ave.    Dept.  14    New  York.  N.  Y. 


GARMUR 

CABLE  RELEASE 

ADAPTOR  for 
REMOTE 

CONTROL 


Eliminates  jarring;  simplifies  tingle  frame  expoauret; 
easily  attached  and  detached:  no  Interference  with 
loading,  winding  or  tripod  mounting. 
MOB  ELS:  Revere;  Filmo  Companion  and  Sportster 

Cable  not  incladed. 
PRICE:  $1.00.    plus    tax    in    Calif.    (If    you  send 
stamps,  send  WAR  SAVINGS  STAMPS. 

Garmur  Products  '*•  °  Metropolitan 

VJ«rmur  rruuutis  g^^^  Los  Angeles  .Calif. 

Also:  MATUS  CAMERA  SUPPLY  COMPANY 
S208  Wilshire  Boulevard  Lot  Angelet,  Calif. 


^^^^  I       1^0  £V£PY 


0«t  thli  FREE   BOOKt  Krery 

UoTte  Ian  should  hare  It.  Chuck 

full   with   eholceit   Dargalni  r«a 

erer  law.  Daylight  Leading  Mo«l< 

film  at  low  aa  tl  per  'oil,  pro- 

•eising  Included.  Alio  bulk  (Un, 

and  doxens  of  barialni  ts  aeect- 

^orlea.  screens,  recli.  tltlen.  etc. 

Contalna  BIQ  NEW  LIST  166  flha  lublectc.  flam- 
our  rilma.  eartooni.  waitami.  hUtorlcal.  adccn- 
ture  and  sport*  fllmi  ror  gmm.  and  16mm.  Writ* 
today.  Tour  name  id  poitctrd  brlnfi  thli  handy 
b*ok  by  return  mall  FREE! 


C88C0    FILM  PRODUCTS 

3827  Archer  Ave.  Dept.  H-ll 


Chicago 


BETTER 
BULK 
FILMS 


CORONA 

PRICES    DO    NOT    INCLUDE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 

CORONA-PAN   _  24-16       $3.15  $11.60 

ORTHOCHROMATIC    ....  1^-  4        1.75  6.00 
SAME  PRICE  FOR   I6MM.  OR  DOUBLE  8MM. 
MACHINE  REVERSAL  PROCESSING— Double  8 
or  Itmm— 100  ft..  8'5e;  50  ft.,  65e;  25  ft.,  80e. 

AW  Ordtri  Shi-ppfd  Postpaid  Except  C.O.D. 

CORONA  FILM  LABORATORIES 

ItttS  NEW  TOBK  AVE.      BROOKLYN,  N.  T. 


tYourOwn 

Film  Titles 

Photo  titles, stationery.grreetinsr 
cards,  bookplate,  advertising. 
E&»y  rales  furnished.  Junior 
Oatfita  $8^  ap.  Senior  $17  up. 
Print  for  Others.  Big  Profit^.  Sold 
direct  from  factory  only.  Writ©  for 
free  catalos  and  all  details.  Kelsey 
Pres9«9r  W-94,  Meriden.  Conn. 


PACE  440 


HOME  MOVIES  FOR  NOVEMBER 


HOME 
MOVIES 

Xo  more  use  for  your 
camera  or  projector? 
Send  it  to  me  for  best 
CASH  price  ...  or  write  for  quota- 
tion. I  also  trade  .  .  .  and  you  always 
get  the  best  deal.  Try  me  today. 

Charles  Bass 

President 

NEW  and  USED 

Cine  Kodak  Specials,  Filmo,  Revere, 
Graphics,  Graflex,  Argus,  Leica,  Confax 

Write  Dept.  HM 


New  Bmm. 

HOLLYWOOD 
FILM 

Going  Like  Wildfire 

Price  Includes  guaranteed  maehlne  preeeiilng. 

AMBERTINT    $1.25 

A  prectlcal  tmy-dty  film  for  outdoor!.  Fln«(r>lii. 

seml-ortho,  wide  latitude. 

OUTDOOR    $1.25 

Excellent   outdoor   film   with   enourh   ipeed  for 
»lmoit  tll  conditions.  Wide  latitude. 
All  film  machine  processed  under  Eastman   Kodak  Ce.'a 
patents 

California  Customers  Include  8al«i  Ttx 

HOLLYWOODLAND  STUDIOS 


iOUTH  GATE 


CALIFORNIA 


8 ENLARGED    «  f\ 
TO  Id 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
995-A   MERCHANDISE  MART 
CH  ICAGO 


Notice  to  Movie  Fens 

If  you  tak*  movies  (Smm  or  10mm)  j<m  ■impljr  cannot 
afford  to  be  without  a  Free  copy  of  tlie  Utert  Phot«  Bar- 
gain  Book  now  being  distributed  throughout  th«  U.  S. 
Lists  all  the  beat  moving  picture  equipment  frora  all 
the  leading  manufacturers,  describes  them.  The  pricae 
aeve  you  money  In  many  cases.  You'll  find  the  latest 
In  lenses,  screens,  meters,  projectors,  cameras,  fllzm, 
titlers,  editing  outfits,  tripods,  books  on  editing, 
tltllnc.  vtc.  This  Bargain  Book  Is  invaluable  to  you  as 
an  equipivent  REFERENCE  book.  Don't  welt  e  day 
longer  to  send   for  your  Free  copy.   Write   us  naw. 

CtNTRAL  CAMERA  COMPANY 
ZaO  S.  Wabash  Dept.  K-9  Chicago.  Illinois 


Distinctive  TITLES 
and  expert  EDITING 

For   the  Amateur   and  Profeesional 
i6mm   —  8mm 
Black   &    White,    Tinted   and  Kodachrome 
Write  for  our  new  illustrated  catalog 
5TAHL  EDITING  &  TITLING  SERVICE 
33  Weft  42nd  Street  New  York,  N.  Y. 


PROTECT  FILMS 

k  AGAINST 
CLIMATE. 
SCRATCH- 

MOVItS               V  t       f.r  STILLS 

VAP^O-RATE 

ASK  YOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO.  INC."  BELL  ft  HOWELL  CO. 
IM  W.  4«tti  St.  ini  Larehmont.  Chleage 
New  York,  N.Y.  718  No.  Libret.  Hellywood 

ES.  STAINS. 
FINGER- 
MARKS-THE 
WAT  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
HOLLY- 
WOOD  PRO- 
DUCERS DO 

endeavor  to  prepare  the  right  kind  of 
material  for  editing  at  the  time  of 
shooting.  In  time,  the  more  experienced 
cinefilmer  will  learn  to  appraise  the  sub- 
ject on  which  he  is  about  to  train  his 
camera  lens ;  will  analyze  its  most  in- 
teresting point,  then  build  gradually 
toward  this  point  with  one  or  two  shots, 
climaxing  with  the  closeup. 


And  this  applies  to  all  the  average 
subjects  of  amateur  movie  filming: 
children,  flowers,  vacation  trips,  etc., 
as  well  as  to  the  more  serious  kind  of 
motion  pictures.  Before  we  can  have 
continuity  we  must  have  sequenses  of 
shots  which  move  logically  to  a  climax. 
These,  edited  together  properly,  will 
provide  continuity. 


(Eackg^roundA  ^or  titled  .  .  . 


O  Continued  from  Page  426 

camera,  and  certainly  at  much  less  ex- 
pense. Prints  for  such  background  use 
should  be  slightly  diffused  and  printed 
quite  dark  as  shown  in  Fig.  2.  The  let- 
tering, of  course,  should  be  white  where 
black  and  white  reversal  film  is  used 
for  the  titles.  For  positive  film  titles,  a 
negative  or  "reverse"  print  should  be 
made  of  the  background  illustration 
and  the  title  text  lettered  in  black. 

If  the  background  subject  is  a  photo- 
graph or  picture  of  value  which  would 
be  marred  by  lettering,  the  lettering 
can  be  applied  on  a  panel  of  celluloid  or 
glass  and  this  laid  over  the  background 
illustration.  This  expedient  may  also  be 
followed  where  rough  fabrics  or  paper 
are  used  for  the  background. 

Double  exposure  is  still  another  meth- 
od by  which  valuable  backgrounds  may 
be  used  without  the  necessity  of  apply- 


ing lettering  to  them.  The  title  is  let- 
tered or  printed  on  a  flat  black  card  and 
photographed.  The  film  is  then  wound 
back  in  the  camera  and  the  background 
photographed  next.  Result  will  be  a  su- 
perimposition  of  the  title  over  the  back- 
ground which  is  the  method  followed 
by  many  professional  titlemakers.  A  fea- 
ture of  this  method  is  the  fact  control 
of  contrasts  is  permitted.  The  back- 
ground exposure  can  be  reduced  to  ob- 
tain the  required  subdued  effect. 

In  short,  the  rule  to  be  followed  in 
making  titles  is  to  "keep  the  back- 
ground in  the  background"  for  subtitles 
— don't  let  the  background  dominate 
the  title. 


EMULSION   RATINGS  FOR  8MM  AND   16MM  FILMS 


AGFA  ANSCO 

16mm    SSS  Pan.   

16  Hypan   _   

16mm  Panchromatic   

16mm  Supreme  Pan.  NeeatiTe... 

16mm  Positive    

16mm  Plenachrome   

8mm  Twln-8  Hypan  

8mm  Filmopan  

Twin  8mm  Pan   

Twin  8mm  SSS  Pan.  

Straight  8  Pan   

••DUPONT 

Regular  Pan  (Ber. )  Typ«  321._.. 

Super  Pan  (Rev.)  Typ*  302  

Sup.-2  (N-PorHT.)  Type  301... 
T>i>e   314   Pan    (N.-P.  or  BeT.). 

Positlte  Type  600   

Sound  Record.  Pos.  Type  60L_ 


I  I 

I  29  I  27 

.1  24  I  23 

I  21  I  20 

.|  27  I  25 

.|  12  I  8 

.1  20  I 

.1  24  I  23 

.1  24  I  23 

.|  20  I  18 

.|  29  I  27 

.1  24  I  23 

I  I 

I  I 

.1  20  I  18 

.1  29  I  28 

.1  26  I  25 

.|  21  I  20 

•  I  12  I  _ 

.1  17  I  9 


EASTMAN 

16mm  Super  XX  Pan  

16mm  Super  X  Pan  

16mm  Safety    

16mm  Sound  Pan   

16mm  Pan.  Negative  

16mm  Positive    

8mm  Super  X  Pan.  „.   

8mm  Regular  Pan    _ 

Kodachrome  (8  and  16mm)  — 

Kodachrome  "A"  (8  and  16mm) 

GEVAERT 

Super  Reversal     

Panchro   

Ortho   _  _     


I  I 
I  I 

..!_.!  .... 

-I  24  I  23 

-I  20  I  18 

-I  23  I  21 

.-!  23  I  21 

-    16  I  10 

..i  23  I  21 

..|  18  I  16 

_|  18  I  14« 

..I  18' I  21 

I  I 

I  I 

.-I  23  I  21 

..|  20  I  18 

-.1  21  1  17 


100 
I  32 
I  16 
I  64 
I  3 
I  12 
I  32 
I  32 
I  " 
1100 
I  32 
I 
I 

I  12 
1100 
I  64 
I  16 
I  2 
I  6 


H  Q 


80  125 

I  24  I  48 

I  II  I  34 

I  40  1100 

I  '.l  I  ii 

I  24  I  48 

I  24  I  48 

I  10  I  16 

I  80  1125 

I  24  I  48 

I  I 

I  I 

I    8  I  16 

I  80  1  _„ 

I  40  I  48 

I  12  I 

11/6  I  - 

I    1  I  „ 


1100 
I  32 
I  12 
I  24 
I  24 
1  5 
I  24 


I  8  I 
I    8  I 

I  8" 
I 

I  I 

I  24 

I  12 

1  16 


I 

80  1125 

24  I  48 

8  I  16 

16  I  ™ 

16  I  32 

3  1  16 

20  I  32 

5  I  12 
3*1  12 

I  12  I  12' 
I  I 
I 

I  16  I  32 

I    8  I  16 

6  I  24 


12 


GENERA  I 

Super  Meteorpan   I  J7  |  25  64 

Super  Panchromatic  |  24  |  J3  24 

Super    Ortho   I  21  I  17  16 

Jlovetone  Ortho  (  19  |  13  |  16 

Seml-Ortho   I  18  I  U  |  8 

I  I 

KtS-O-VUX  I  I 

No.   1  1  18  I 

No.    2     -   1  20  I 

No.   3  I  26  I  24 

No,  3  Gold  SeaL  |       I  29 

I  I 

HOLLYWOOD  I  I 

8.  S.  Pan   I  26  I  25 

Pan    I  21  I  20 

Seml-Ortho  I  18  I  12 

I  I 

UNIVEX  I  I 

Standard   I  17  I  14 

Ullrapan   I  20  I  18 

Ultrapan   Super-Speed.  |  23  |  21 

I  I 

GAMMACHROME  I        I        I  I 

Regular      I  18  I  10  j    8  1  3 

Plus    .,..|  20  I  17  I  12  I  6 

Superpanez  No.  100  I  29  I  27  1100  |  «4 

Superpanex  No.  24  I  23  I  21  I  24  I  16 

Colortono      |  18  I  10  1    8  I  3 


40 
1< 
« 

6 

2 

I  I 
I  I 
I    «  I  _ 
I  12  I  - 
I  50  I  40 
I  -  1100 
I  I 
I  I 
I  50  I  40 
I  16  I  12 
18  12 
I  I 
I  I 
I    «  I  — 
I  12  I  « 
I  24  I  16 
I  I 


••Ratings  tor  last  four  Dupont  films  are  for  straight  development.  Ratings  for  reversal  depend  upon  processing 

formulas  and  technique  employed. 
•With  filter. 


HOME  MOVIES  FOR  NOVEMBER 


PACE  441 


WW  TO  TITLt 

wofHE  movies 


(?}IRM^  for  negatives 


GIVE  IT  A  NAME! 

Your  movie  deserves  a  name — a  main 
title  —  as  well  as  descriptive  sub- 
titles. And  you  can  easily  film  them 
yourself.  Here  is  the  book  that  tells 
you  how — gives  all  the  data  con- 
cerning exposure,  title  areas,  auxili- 
ary lenses,  title  construction,  plus 
complete  plans  for  builling  your  own 
complete  plans  for  building  your  own 
home  titler.  Send  for  this  book  to- 
day— only  .  .  . 

$|.00 

POSTPAID 


BUILD  IT  YOURSELF! 

That  gadget  you've  been  wanting — 
sunshade,  filter  holder,  fading  de- 
vice, or  camera  dolly — you  can  eas- 
ily build  yourself.  You  don't  have  to 
be  a  mechanic;  as  long  as  you  can 
use  a  few  simple  tools  you  can  make 
any  of  the  gadgets  illustrated  and 
described  in  this  fascinating  book  of 
Home  Movie  Gadgets.  Making  one 
gadget  will  more  than  repay  the 
price  of  .  .  . 

$1.00 

POSTPAID 


HOME  MOVIES 

6060  Sunset  BIdg. 
Hollywood  California 


Content  Winner^ 

•  Continued  from  Page  423 

Kodachrome  by  John  L.  Young,  Los 
Angeles,  Calif.  (See  Pg.  346  Sept.  '42 
Home  Movies)  . 

Snap  Happy,  700  feet  i6mm.  Koda- 
chrome by  Ted  Geurts,  Salt  Lake  City, 
L^tah.  (See  Pg.  104  March  '42  Home 
Movies)  . 

Story  of  An  Egg,  noo  feet  8mm. 
Kodachrome  by  M.  M.  Rosenbloom, 
Petaluma,  Calif. 

Story  Yosemitc  Tells,  400  feet  i6mm. 
Kodachrome  by  George  L.  Rankin,  San 
Francisco,  Calif.  (See  Pg.  64  Feb.  '42 
Home  Movies)  . 

That's  An  Idea!  200  feet  8mm.  Ko- 
dachrome by  Ray  Rieschel,  Robbinsdale, 
Minn. 

Ten  Gallons  of  Gas,  400  feet  i6mm. 
Kodachrome  by  Leo  Caloia,  Los  An- 
geles, Calif. 

The  Magic  Closet,  150  feet  8mm. 
black  and  vi^hite  by  W.  D.  Garlock,  Los 
Angeles,  Calif. 

The  Ugly  Dtickling,  animated  car- 
toon, TOO  feet  8mm.  Kodachrome  aug- 
mented by  re-recorded  music  on  disc, 
by  Denny  Plumlee,  Amarillo,  Texas. 

Achievement  Awards 

Photography — Leo  Caloia,  Los  An- 
geles, for  the  fine  camera  work  in  his 
1 6mm.  picture.  Latitude  26. 

Editing — Roland  Ray,  Los  Angeles, 
for  excellent  cutting  and  editing  of  his 
picture,  Rita  of  Rocky  Ranch. 

Titling— C.  A.  Willis,  Merced,  Calif., 
for  outstanding  achievement  in  titling 
his  picture  White  Waters. 

Satind — Jack  Helstowski,  Los  Angeles, 
for  technical  excellence  in  post-record- 
ing disc  sound  with  Synchro-Sound  sys- 
tem for  his  200  foot  8mm.  Kodachrome 
picture  Trials  of  Life. 

Technical — H.  J.  Theiler,  Whitins- 
ville,  Mass,  for  outstanding  accomplish- 
ment in  time-lapse  cinematography  in 
his  400  foot  1 6mm.  Kodachrome  pic- 
ture Revelation. 

Limited  space  compels  us  to  forego 
describing  the  content  and  merits  of 
the  winning  films.  This  will  be  post- 
poned until  the  December  issue  at  which 
time  we  shall  also  tell  about  the  indi- 
vidual accomplishments  that  won  for 
contestants  the  achievement  awards. 

Home  Movies  staff  wishes  to  con- 
gratulate each  and  every  contestant  for 
his  splendid  efforts.  Especially  do  they 
wish  to  commend  those  amateurs  who 
participated  in  previous  contests  and 
who  came  back  again  this  year  with 
films  that  demonstrated  marked  pro- 
gress and  improvement  in  technique. 
Those  who  failed  to  place  in  the  contest, 
we  sincerely  hope  will  strive  harder  than 
ever  to  be  numbered  among  those  in  the 
winners'  circle  next  time. 


A    Real    Cift    for    a    Friend   or  Yourself 

Bookshelf  size.    Blue,  green,  maroon,  black. 

Contents    book    lists    up   to    720  negatives. 
No.  300  (illustrated)  for  negatives  up  to  3%x5"  CI  (JA 

No.  500  for  negatives  up  to  SxTMi"  ^I.WW 

At  Stores  or  Direct  Prepaid  on  10-Days  Mone.v-Back  Trial 
Free  Catalog  of  Amfiles  for  Reels,  Slides,  etc. 


AMBERG  FILE  &  INDEX  CO.  lSJ2,S"eM.^s 


Make  Titles   in   Red,    Blue,   Yellow,   Green,  Black, 
White  on  Photographic  Scenic  Backgrounds. 

"A  to  Z"  Color  Title  Outfit  $6.50 

Black  &  White  outfit.  $3.00  Figurettes....$l.00 
Write  for  your  FREE  Test  Kit  today. 
All  outfits  at  your  dealer  or  order  direct. 
A-to-Z  MOVIE  ACCESSORIES 
175  Fifth  Ave.  Dept.  H43  New  York  City 


PB  MOVIE  FILTER  KIT  FOR  COLORFILM 
FOR    l^gygl^E  CAMERAS 

Including  I  Screw-in-Sunshade,  I  Haze  Filter, 
I  Type  A  Filter,  I  Pouch.  O^A  fC 

complete   J 

From   All   Leading  Camera   Dealers  or 

PONDER  &  BEST 

1015  SO.  GRAND  AVE..  LOS  ANGELES,  CALIF. 

Reversible  Film,  100  Ft  $1.95 

8mm.  Double    25  Ft  $1.50 

PRICES    INCLUDE  PROCESSING 

Silly  Symphonies,  Charlie  Chaplin  and  other 
features  at  1%?  per  foot  for  complete  subject. 
Write  today  for  our  catalogue  of  finished  subjects, 

STAR    SAFETY  FILM 

630  Ninth  Ave.  Film  Center  BIdg.,  N.  Y.  C. 


Kodachrome 

MAPS   CHARTS   FINE  TITLES 
GEO,  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 

995-A    Merchandise    Mart,  Chicago 
16MM.  KODACHROME 

■■The  End"  titles:  3  for  $1.00.  With  fade-out,  50c  each. 
■■California    Wildflimers" :    100   ft.,    $18;   200   ft.,  $36: 

or  any  f,«)ta!;e  at   18c  ft. 
"Yosemitc  ':  100  ft..  $18;  200  ft.,  $36;  also  any  length 

at  18c  per  foot, 
■■Qrab-bag.^'  miscellaneous  scenes,  100  ft.  $6.00. 
Other  subjects:  Canadian  Rockies,  Blooming  Desert,  San 

Francisco,    .^nd  Kodaslides,  too! 

CUY   D.  HASELTON 

7936  Santa  Monica  Blvd.  Hollywood.  Calif. 


RENT  A  FILM 

i^.  SEND  FOR  FREE  LIST 

ESSCO  FILM  PRODUCTS 
3827  ARCHER  AVE.,  CHICAGO 


PACE  442 


HOME  MOVIES  FOR  NOVEMBER 


■fl.g-0-P-0JLfl-<LiL<LftJLgJLgJLflJLgJLfl-0-0-8-0.Q.0  i 


MOVIES  OF 

KIDDIES  .  .  . 

Kill  be  better  If  you  follow  the  filming  ideas 
contained  in  this  new  32-page  booklet  just  off 
the  press.  Contains  50  separate  ideas  on  how  to 
film  children — how  to  make  home  movies  of  your 
kiddies  appealing  and  professional-like.  It's 
the  best  investment  you  can  make! 

25c 

POSTPAID 

VER  HALEN  PUBLICATIONS 

6060  SUNSET  BLVD.      HOLLYWOOD.  CALIF. 


MAKE  YOUR  OWN  TITLES 

The  real  indoor  sport  of  the  Home  Movie 
Hobby.  Artd  they're  easier  than  ever  to 
make  when  you  use  Mitten  letters  that  can 
be  used  over  and  over  again.  The  new 
professional  titling  set  with  both  upper  and 
lower  case  (large  and  small)  lefters  now 
ready.  Price  .  .  . 

$7.50 

(Pin  back  letters,  $7.95  set) 
Other  Sets  from  Sj.jo  K^. 

MITTEN  LETTER  CO. 


REDLANDS 


CALIFORNIA 


A  BARREL  OF  LAUGHS! 


CARTOONS  —  COMEDIES 

Complete  Edition   (Full  Reel) 

8  MM  $  5.50 

16  MM   8.75 

16  MM.  SOUND    17.50 

Dejler  Discounts  Aiailable 
CERTIFIED  FILM  DISTRIBUTORS,  Inc. 

25  Wait  45th  Street  New  York 


KnroU  now  at  country's  largest,  best  equipped 
school.  Profit  by  our  32  years  of  experience  in 
trainln?  men  and  women  for  photographic  suc- 
cess. Individual  coaching  by  experts,  for  Com- 
mercial. Npws.  Portrait.  Motion  Picture.  Color  Pho- 
to^>nhv    B«^si<1'"»»         b"nie   ^tuiv    Free  booklet. 

N.  Y.   INSTITUTE  0^"  PHOTOGRAPHY 
Deot.  114.   n  West  33rd  Street.  N^w  York.   N.  Y. 


amateur  fllm^ 

•  Continued  from  Page  41 S 

tcrior  lighting  and  general  photography. 
Cutting  and  titling  are  very  good.  A 
2-star  merit  leader  was  awarded  the 
film. 

Dot's  Wedding"  is  patterned  after 
the  1 6mm.  wedding  picture  produced 
sometime  ago  by  Pat  Rafferty  of  Long 
Beach,  Calif.,  and  reviewed  at  length 
in  August  1 94 1  issue  of  Home  Movies. 
Filmed  by  W.  E.  Tymeson  of  Walling- 
ford,  Conn.,  the  picture  is  in  8mm.  Ko- 
dachrome,  ijo  feet  in  length. 

Briefly  it  is  a  record  of  a  wedding 
that  takes  in  practically  every  import- 
ant phase  from  picturing  the  wedding 
announcement  in  closeup  to  the  final 
scenes  showing  the  groom  carrying 
bride  over  the  threshold  of  their  new 
home. 

Camerawork  is  good  with  some  un- 
der-exposure noted  in  a  few  scenes. 
Continuity  idea  is  good,  the  treatment 
of  which  was  fair.  More  of  a  story  treat- 
ment would  enhance  the  value  of  this 
film  for  audiences  outside  the  maker's 
family.  Nevertheless,  it  rates  and  has 
recevied  a  2-star  merit  leader  from 
Home  Movies'  reviewing  staff. 

Club  (program 


ea^ 


•  Continued  from  Page  419 

was  explained  to  all  members.  Another 
successful  meeting  was  one  in  which  a 
member  brought  some  of  his  own  films 
properly  cut  and  titled,  followed  by 
general  discussion.  In  arranging  for 
programs,  members  are  delegated  by 
the  president  to  be  in  charge  in  turn, 
thereby  removing  the  burden  exclusive- 
ly from  the  shoulders  of  a  program 
chairman. — Toronto  Movie  Clnb,  Tor- 
onto, Canada. 

Quiz  Program 

Among  our  many  outstanding  pro- 
grams, we  list  two  as  being  of  particu- 
lar interest  to  clubs  generally.  First  was 
a  movie  quiz  program  for  which  the 
club  was  divided  into  two  teams.  The 
program  committee  drew  up  a  group  of 
questions  pertaining  to  the  home  movie 
hobby  and  the  side  which  scored  the 
highest  number  of  correct  answers  won 
a  small  prize.  Another  successful  oro- 
?ram  was  that  in  which  all  members 
brought  to  the  meeting  any  or  all  the 
gadgets  they  have  found  of  value  in 
making  amateur  movies. — Hub  Cine 
Cluh,  Lubbock,  Texas. 


Round  Table 

One  of  our  most  productive  and  in- 
structive programs  was  one  in  which 
the  club  was  divided  into  sections  for 
round  table  discussions.  Each  member 
could  choose  which  of  several  groups  to 
join  for  the  evening,  including  those 
for  beginners  only,  titling,  trick  pho- 
tography, exposure,  etc.  In  this  way  we 
all  were  able  to  gain  the  benefit  of  the 
experience  of  other  club  members  who 
were  qualified  to  exchange  helpful  in- 
formation.— Metro  Movie  Club,  Chi- 
cago, Illinois. 

Unique  Program 

Each  year  the  program  furnished  by 
a  local  doctor  who  shows  films  of  his 
summer  fishing  trip  to  the  Lake  of  the 
Woods  in  Canada  is  the  highlight  of 
our  year.  Price  of  admission  is  old 
clothes,  shoes,  hats,  jewelry,  toys,  etc., 
or  anything  that  Indians  of  the  reserva- 
tion in  which  he  fishes  can  use.  Last 
summer  after  his  lectures  of  the  pre- 
Yious  year  he  took  with  him  65  gunny 
sacks  of  stuff  to  the  Indians  and  you 
should  see  them  clamor  for  it!  The  doc- 
tor was  made  an  honorary  chief. — 
Kalamazoo  %mm.  Cinematographers, 
Kn'cfmazoo,  Michigan. 


ST.XTEJfENT  OF  THE  OWNTKSHTP  ^^A^•\GE- 
>TVT.  riRCT-I,.ATTO\-.  ETC..  REQriBED  BY 
THE  APTS  T»F  roXORESS  OF  ArOCST  24  1912 

Avr>  >r.\RCH  3.  1933 
Of   HOME    MOVIEIS.    published   Monthly   at  Los 
Angeles,  r^lifomia,  fnr  October  1st.  1942. 
Sisf  r-f  California.  County  of  Los  Angeles,  ss: 

Before  me.  a  Notary  Public  in  and  for  the  State 
and  county  aforesaid,  personally  anpeared  C.  J.  Ver 
Halen,  Jr..  who,  having  been  duly  sworn  according 
to  Ian-,  deposes  and  says  that  he  is  the  Publisher  of 
the  Home  Movies,  and  that  the  following  Is.  to  the 
best  of  his  knowledge  and  belief,  a  true  statement  of 
the  ownership,  management  (and  If  a  daily  paper, 
the  circulation),  etc.,  of  the  aforesaid  publication  for 
the  date  shown  in  the  above  caption,  required  by  the 
Act  of  August  24.  1D12.  as  amended  by  the  Act  of 
March  3,  1933.  embodied  in  section  537,  Postal 
Lawsc  and  Regulations,  to  wit: 

1.  That  the  n.imes  and  addresses  of  the  publisher, 
editor,  managing  editor,  and  business  managers  are: 
Publisher,  C.  J.  Ter  Halen,  Sr.,  9014  Lark  Ellen 
Circle.  Los  Angeles.  Calif.,  and  C.  J.  Ver  Halen.  Jr.. 
9024  Lark  Ellen  Circle.  Los  Angeles.  Calif. :  Editor. 
Arthur  E.  Gavin,  2230  East  Glenoaks  Blvd.,  Glen- 
dale.  Calif. 

2.  That  the  owner  is:  (If  owned  by  a  corporati"n. 
Its  name  and  address  must  be  stated  and  also  Im- 
mediately thereunder  the  names  and  addresses  <-f 
stockholders  owning  or  holding  one  per  cent  or  more 
of  total  amount  of  stock.  If  not  owned  by  a  corpora- 
tion, the  names  and  addresses  of  the  individual 
owners  must  be  given.  If  owned  by  a  firm,  company, 
or  other  unincorporated  concern,  its  name  and  ad- 
dress, as  weH  as  those  of  each  individual  member, 
must  be  given.)  Partnership,  C.  J.  Ter  Halen.  Sr  . 
9014  Lark  Ellen  Circle.  Los  Angeles.  Calif. :  C.  J. 
Ver  Halen,  Jr.,  9024  Lark  Ellen  Circle,  Los  Angeles, 
Calif. 

3.  That  the  known  bondholders,  mortgagees,  and 
other  security  holders  owning  or  holding  1  per  cent 
or  more  of  total  amount  of  bonds,  mortgages,  or 
other  securities  are:  (If  there  are  none,  so  state.) 
None. 

4.  That  the  two  paragraphs  next  above,  giving  the 
owners,  stockholders,  and  security  holders,  if  any. 
contain  not  only  the  list  of  sfx-kholders  and  security 
holders  as  they  appear  upon  the  books  of  the  com- 
pany but  also,  in  cases  where  the  stockholders  or 
security  holder  appears  upon  the  books  of  the  com- 
pany as  trustee  or  in  any  other  fiduciary  relation, 
the  name  of  the  person  or  corpTati^n  for  whom  such 
trustee  is  acting,  is  given:  also  that  the  said  two 
paragraphs  contain  statements  embracing  affiant's 
hill  knowledge  and  belief  as  to  the  circumstances 
and  conditions  under  which  stockholders  and  security 
holders  who  do  not  appear  upon  the  books  of  Ihe 
company  as  trustees,  hold  stock  and  securities  in  a 
capacity  other  than  that  of  a  b''na  fide  owner:  and 
this  affiant  has  no  reae'^'n  to  believe  that  any  other 
pers-in.  association,  or  corporation  has  any  interest 
direct  or  Indirect  in  the  said  stock,  bonds,  or  other 
securities  than  as  so  stated  by  him. 

C.  J.  TEB  HA  LEX.  JR. 
(Signature  of  editor,  publisher,  business 
manager,  or  owner. ) 
Sworn  to  and  subscribed  before  me  this  1st  day 
of  October.  1942. 

(SEAL)  S.  E.  CRILL. 

(My  commission  expires  Oct.  13.  1942.) 


HOME  MOVIES  FOR  NOVEMBER 


PAGE  443 


TITLE  troubled 


By  GEORGE  W.  CUSHMAN 

If  you  have  any  questions  pertaining  to  titles  or 
title-making,  Mr.  Cushman  will  be  glad  to  answer  them. 
Address  him  in  care  of  Home  Movies  or  his  residence,  504 
Stanton  Avenue,  Ames,  Iowa.  In  explaining  your  title 
troubles,  include  information  such  as  type  of  equipment 
used,  film,  light  source,  and  where  possible,  send  along  a 
sample  of  the  title  film.  Enclose  a  self -addressed  stamped 
envelope  if  you  wish  an  early  reply. 

Q.  How  can  I  animate  titles — that  is,  make  letters  ap- 
pear one  by  on^ — when  my  camera  does  not  provide  for 
single-frame  exposure? — A.  N .,  St.  Louis,  Mo. 

A.  Assuming  titles  are  black  with  white  letters  and 
are  to  be  filmed  with  black  and  white  reversal  film,  simplest 
method  is  to  cover  entire  title  with  card  of  same  black  ma- 
terial as  title  background.  Start  camera,  then  move  card — 
exposing  the  words  one  letter  at  a  time.  This  is  applicable, 
of  course,  only  with  short  titles  of  one  to  three  words. 

Q.  Using  positive  film,  is  it  possible  for  me  to  get  great- 
er contrast  by  composing  my  titles  of  black  cut-out  let- 
ters pasted  over  tissue  paper  and  illuminating  them  from  the 
rear? — H.  B.,  Tulare,  Calif. 

A.  It  is  very  doubtful.  Unless  source  of  backlight  was 
considerably  diffused,  an  objectionable  "hot  spot"  would 
appear  in  the  title.  Correct  exposure  and  proper  develop- 
ment of  positive  film  titles  made  the  regular  way — titles 
lettered  in  black  on  white  cards — will  produce  necessary 
contrast. 

O.  Various  articles  and  books  on  titling  suggest  the  use 
of  "sans  serif"  type  where  title  cards  are  to  be  printed.  1 
do  not  find  the  word  "sans  serif"  in  the  dictionary.  Please 
explain  this  term. — /.  K.  D.,  Miami,  Fla. 

A.  Sans  serif  type  faces  are  those  in  which  the  characters 
do  not  have  the  short  fine  finishing  lines  at  top  and  bottom 
as  in  the  case  of  the  type  used  in  this  paragraph.  Sans  serif 
type  is  a  bold  face  type  like  this — A,  B,  C — where  all 
lines  composing  the  character  are  of  the  same  width  and 
are  undecorated.  Such  type  is  recommended  for  titles  be- 
cause it  photographs  better,  is  easier  to  read  on  the  screen. 

Q.  I'm  frying  for  some  searchlight  "beam"  effects  in 
a  main  title.  So  far  I've  had  jxjor  success.  Can  you  suggest 
how  I  can  get  the  same  effect  as  the  professionals  do? — 
/.  M.  McK.,  Kenosha,  Wise. 

A.  Most  of  the  professionals  obtain  the  "beam"  effect 
by  having  the  beams  pa'nted  on  panels  of  celluloid  which 
are  laid  over  the  title  and  rotated  to  give  the  desired  effect. 
Sometimes  the  beams  are  photographed  first  a  id  the  title 
text  superimposed  over  it.  You  can  do  the  same. 

Q.  What  is  the  proper  manner  of  presenting  a  picture 
in  the  opening  or  mn'n  titles — hotv  should  ma'n  titles  be 
worded?— H.  O'N.,  Utica,  N.  Y. 

A.  Best  answer  is  to  study  main  or  introductory  titles 
of  any  current  theatrical  motion  picture.  Most  amateurs 
begin  thus:  "John  Doe  presents  Our  Family  Album" — us- 
ually all  in  one  title,  followed  by  credit  title:  "Photo- 
graphed by  John  and  Mary  Doe."  If  the  picture  is  a  sce- 
nario, title  listing  the  cast  follows. 


TITLES 


By  EDMUND  TURNER 


MEMORIES 
mOM.HOME 


PAGE  444 


HOME  MOVIES  FOR  NOVEMBER 


CLISSIFIED 


ilDVERTISIE 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  A  friend  in  need  Is  a  friend  indeed 
in  these  trying  times  for  we  have  the  hard-to- 
aet  Cine  Apparatus. 

USED  CAMERAS 
8mm.  Bell  &  Howell  Single  8,  with  case,  F:3.5  lens. 
$22.50. 

8mm.  Cine  Kodak  Model  20,  F:3.5  lens,  $24.50. 

Bmm.  Revere  Model  88.  F:3.5,  $29.75. 

8mm.  Cine  Kodak  25.  F:2.7  lens,  with  case,  »3'-50. 

8mm  Bell  &  Howell  Companion  Double  8.  F:3.5 
lens.  $37.50.  .  ,       ,         w  , 

8mm.  Revere  Model  99  Turret,  with  12.5mm.  Wol- 
lensak  F:l.9  in  focusing  mount.  $87.50. 

8mm  Bell  &  Howell  Aristocrat  Turret  model,  criti- 
cal focuser,  like  new.  Cooke  2.5.  1'  Wollensak  1.5. 
2'  Cooke  3.5,  finder  lenses,   backwind,  carrying 

8m"'.^Bolex.'  latest  model,  I2%mm.  Wollensak  F:1.9 
fousing  mount,  r  F:2.7  Wollensak  focusing 
mount.  Britar    F:2.7    focusing    mount  and 

case  $262.50. 

16mm.' Cine  Kodak  Model  E,  F:3.5  lens,  $32-50. 

16mm.  Keystone  A-7.   I'  F:2.7  fixed  focus  $39.50. 

16mm.  Cine  Kodak  Model  B.  F;l.9  lens,  $49.50. 

16mm.  Cine  Kodak  Model  K.  with  F:1.9  lens  and 
case.  $72.50.  _        .  c  ■  o 

16mm.  Bell  &  Howell  121  Magazine,  with  F:l.8 
Cooke  lens.  $74.50. 

16mm.  Cine  Kodak  Magazine  with  F:l.9  lens  $92.50. 

16mm.  Filmo  70E,   latest  model,   F:2.7  fixed  focus. 

$92-50.  -  ,  , 

16mm  Bell  &  Howell  141  Magazine,  with  1  Lumax 
F:l.9  lens.  foe.  mt.,  $117.50. 

Zeiss  Movikon  16,  with  Sonnar  F:l.4  lens,  with  case 
and  filters.  $350.00. 

I6MM.  USED  PROJECTORS 

Bell  &  Howell  Model  57.  400  watt  lamp,  2'  lens 
and  case.  $57.50. 

Keystone  Model  A-81,  750  watt  lamp,  2  lens  and 
case,  $67.50.  ,  ,.,  , 

Kodascope  Model  C,  100  watt  lamp,  like  new  and 
deluxe  case,  $22.50. 

Kodascope  Model  K,  260  watt  lamp  62  v.  lamp  and 
case.  $75.00. 

I6MM.  USED  SOUND  PROJECTORS 

AMPROSOUND  Model  S,  750  watt  lamp,  20  watt 
output,  $365.00. 

Victor  Animatophone  Model  33.  750  watt.  8  watt 
amplifier.  8"  speaker,  one  case  unit,  $275.00. 

Victor  Animatophone  Model  40-C.  AC-DC  operated. 
8"  speaker.  15  watt  amplifier,  one  case  unit,  with 
cover,  $387.50. 

Filmosound  Master,  750  watt,  25  watt  amplifier, 
15"  speaker.  $481.10. 

IN  STOCK — New  Filmomasters  8  and  16mm.  Re- 
vere Deluxe.  Keystone  A-82,  Cine  Magazines  8 
and  16mm.,  Filmo  Autoloads  and  Automaster 
models.  Bell  &  Howell  direct  focuser  for  Auto- 
load or  Automaster,  $20.55.  Quick-Set  Jr.  Cine 
Tripod,  $20.00. 

Complete  stocks  of  Cine  Lenses,  all  focal  lengths. 
Write  for  quotations. 

We  buy  'em,  sell  'em,  and  trade  'em.  Complete 
stocks  of  new  Cine  equipment,  all  makes.  Send 
for  Bass  Supplementary  List  of  Cine  Equipment 
up  to  date. 

BASS  CAMERA  COMPANY,  Dept.  HC,  179  West 
Madison  St.,  Chicago,  Illinois. 

•  FOR  SALE— B  &  H  70-DA,  Taylor-Hobson  f/3.5 
lens,  set  6  Duplex  filters,  auxiliary  handle,  May- 
fair'case;  new  and  unused,  was  birthday  gift.  Lists 
$250.00.  sell  for  $165.00.  Also  Argus  C-3,  accessory 
kit.  ali  extra  lenses  and  filters,  self  timer,  com- 
plete argus  outfit  and  shoulder  strap  bag.  Cost 
over  $85.00,  sell  for  $55.00.  C.  P.  NORTON,  1801 
Cottle  Ave.,  San  Jose,  Calif. 

•  STEWART-WARNER  16mm.  Special  Camera  fit- 
ted with  custom-built  2-lens  turret  for  standard 
lens  mounts,  magnifying  focusing  tube,  Bell  & 
Howell  tubular  viewfinder,  and  lateral  shift  align- 
ment gauge.  No  lenses.  Price,  $25.00.  BOX  CV-IO, 
HOME  MOVIES,  6060  Sunset  Blvd.,  Hollywood, 
Calif. 

•  SAVE  —  Easy  to  make  your  own  8-l6mm.  action 
filmviewer.  No  shutter  or  moving  parts — film  ap- 
pears as  motion  pictures.  Send  $1.00  today  for 
blueprint  and  instructions.  BUCKLEY  BROS.,  1188 
Broadview  Ave.,  Columbus,  Ohio. 

•  B  &  H  I6MM  Sound  Projector,  RCA  16mm.  sound 
camera,  public  address  amplifier.  All  above  equip- 
ment in  excellent  condition  and  complete.  Will  sell 
all  or  any  part.  Will  furnish  details  upon  request. 
WHARTON  WINSTEAD,  Box  60,  Roxboro,  N.  C. 

•  BOLEX  16MM.,  1'  f'1.4  Leitz  Hektor  and  3" 
f  35  Teletar  lens;  used  for  14  rolls,  $300.00.  Ampro 
KD  16mm.  projector,  $125.00.  MRS.  NELS  BALDWIN, 
Webster  Hotel,  Fargo.  No.  Dakota. 

•  $9.95  for  your  Univex  model  "A"  or  "B"  on 
new  Cinemaster  model  "E"  or  "F".  O.  KENNEDY, 
1861  Adams  Ave.,  Tyrone,  Penna. 


#  Have  you  Some- 
thing to  sell? 

Turn    it   into    cash    with    a    Home  Movies 

classified  ad! 

RATES:  Ten  cents  per  word;  minimum 
charge,  $2  cash  with  order.  Closing  date, 
10th  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


WANTED 


•  WANTED — silent  films:  sports.  travelogues, 
events,  etc..  also  recording  sound  camera  and  pro- 
jector. State  make  and  model.  Private  party.  166 
EAST  JEFFERSON  AVE.,  Detroit.  Mich.  

•  .MODEL  UA  electric  motor  drive  for  Cine  Ko- 
dak Special,  also  spare  magazine — new  or  used. 
S.  P.  SENIOR.  JR.,  203  Fairfield  Ave.,  Bridgeport, 
Conn. 

•  CASH  for  16mm.  sound  projector.  Trade  Victor 
5  camera  plus  cash  for  Cine  Special.  MOVIETTE. 
320  W.  42,  New  York.  N.  Y.  LOngacre  3-0205. 

•  WANTED  —  used  equipment.  Bargain  list  on 
request.  PETERS.  41-B  So.  4th  St.,  Allentown.  Penna. 

•  USED  16mm.  equipment  and  film.  MULTIPRISES, 
Box  1125.  Waterbury,  Conn, 

TITLING 

•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20"  24",  32"  and 
40"  focal  lengths.  Con  be  used  on  all  titlers  which 
provide  for  interchange  of  lenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  lenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO.,  3221  So. 
Figueroa   St.,   Los  Angeles,  Calif. 

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
p'ete  sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus,  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  and  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
ali  titling  needs.  MITTENS  LETTER  CO.,  Redlands, 
Calif. 

FILMS  FOR  EXCHANGE 

•  EXCHANGE:  silent  pictures,  $1.00  reel;  sound, 
$2.00.  Also  sell.  Free  catalogue.  Selected  sound 
programs,  reasonable  rentals.  BETTER  FILMS,  742 
New  Lots  Ave.,  Brooklyn,  N.  Y. 


BIND 

Your  Copies  of 

HOME  MOVIES 


Preserve  each  and  every  copy  for 
future  handy  reference.  New  binders 
m  blue  leatherette  trim.  Cold 
stamped,  hold  12  issues.  Easy  to  in- 
sert new  copies,  withdraw  old  ones. 

$1-25 

POSTPAID 

\('ith  Your  Name  Imprinted .  $7.50 

HOME  MOVIES 

6060  Sunset  Blvd.,  Hollywood.  Calif. 


FILM  RELEASES 

•  8MM.-I6MM.  fTlms:  Castle,  Excel,  N.A-  7^ 
clal,  Holl/wood — over  2000  rolls,  silent,  sG^rd.  Jol' 
our  yearly  movie  club.  Camera,  films — Agfa.  East- 
man. DuPont.  Solar  —  all  sizes,  colors.  COLLIER 
PHOTO  SALES.  9508  Nelson  Ave.,  Telephone  Di-6836. 
Cleveland.  Ohio. 

•  MC5NEYMAKERI  "The  World's  Greatest  Passion 
Play."  16mm.  and  35mm.  Specify  sound  or  silent. 
Rent  or  purchase.  Superior  than  Oberammergau- 
play.  HEMENWAY  FILM  CO..  33-A  Melrose  St. 
Boston.  Mass. 

•  8MM.  AND  I6MM.  Film-Subjects— Black  &  White 
and  Color — Sound  or  Silent.  Largest  selection  ever 
compiled;  65c  to  $200.  Write  for  new.  DeLuxe  1943 
Catalog — Profusely  illustrated.  25c  (coin  or  stamps) 
—refunded  first  purchase.  HOLLYWOOD  MOVIE 
SUPPLY  CO..  Hollywood.  Calif. 

•  EXCHANGE  your  16mm.  full  subjects  used  or 
new  for  brand  new  8mm.  subjects.  25c  exchange 
fee.  Also  send  for  free  lists  of  Bmm. -16mm.  subjects 
cartoons,  comedies.  ABBE.  1265  Broadway.  N.  Y.  C. 

•  100'  I6MM.  use  sound  film,  $1.00  postpaid.  Good 
u?ed  I6mrn.  sound  features,  shorts — attractive 
prices.  BLACKHAWK  FILMS,  Dept.  HM-3,  Daven- 
port, Iowa. 

•  8-I6MM.  SILENT  and  sound  films.  Cameras  and 
projectors.  Bought,  sold,  traded.  Free  Lists  BOBS 
154  East  47th  St.,  N.  Y.  C. 

•  BMM.  FILMS!  All  major  producers.  New-used 
prints.  Sales-exchanges-trade-ins.  RIEDEL  FILMS 
Dept.  HM-II42,  3207  Joslyn  Rd.,  Cleveland,  Ohio. 

•  COMPLETE  16mm.  silent-sound  subjects,  $1.00. 
(Need  splicing).  All  sizes  film  bought,  sold,  ex- 
changed. Catalogue,  sample  film  lOc.  INTER- 
NATIONAL-H,  2120  Strarss.   Brooklyn.   N.  Y. 

•  SOUND  and  Silent  Films  exchanged,  bought 
sold,  rented.  Bargains  always.  New  Free  lists. 
FRANK  LANE.  5  Little  BIdg.,  Boston,  Mass. 

•  BARGAINS  In   16mm.  features  and  shorts.  MUL- 

T'fR'SES    Bex   1125    V/a+erb'^r,.  Cc". 

KODACHROME    FILM  RELEASES 

•  KODACHROME  Travel  Films— latest  releases 
now  available  for  distribution  in  8  and  16mm.  Dime 
will  bring  color  sample  and  listings.  KENWOOD 
FILMS,  818  E.  47th  St.,  Chicago,  III.  

•  KODACHROMES  of  Florida.  16mm.  only,  brand 
ne*  100  ft.  subjects:  Cypress  Gardens.  Marineland, 
Miami,  Rare  Bird  Farm.  List  and  sample.  SUN- 
SHINE  FILMS,  Box  514.  St.  Petersburg.  Fla.  

•  KODACHHOME.  BW.  8-I6mm.  film  subjects  for 
growniips.  Lisfs.  color  sample,  lOc.  No  postals  an- 
swered. JENKINS    E!~Ira    N.  Y.  Dealers  wanted. 

FILMS 

•  8MM-I6MM.  fl'm  Including  prccessirg,  c3vilght 
loading.  non-hala*icn.  25  ft.  8  8mr-.  Weston  12 
85c.  Weston  24-16.  $1.25.  Weston  64-40  $1.50.  100 
ft.  16mm.  Weston  12.  $1.85.  Weston  24-16,  $3.75. 
Weston  64-40.  $4.00.  RITTER  FILM  SERVICE.  629 
Lyman  Ave..  Oak  Park.  III. 

•  ESO-C  Hollywood  sepia  for  your  double  Bmm. 
and  Univex  cameras.  $1.30  per  25  foot  double- 
8mm.    roll.   85c   per  two   rolls   Univex.   ESO-S.  see 

page  438. 

 DUPLICATING  SERVICE  

•  SI. 25  PAYS  for  a  fifty-foot  8mm.  duplicate  of 
your  favorite  reel.  Ow  Monoco'or  duplicates  will 
preserve  those  fading  Kodachrome  movies.  Partic- 
ulars. ESO-S  PICTURES.  3945  Central.  Kansas  City. 
Missouri. 

 PROCESSING  SERVICE  

•  MOTION  picture  processing.  IOC'  16mm..  75c: 
50  !6mm..  50c;  25'  8/8mm.,  35c;  25'  8mm.,  25c: 
RITTER  FILM  SERVICE,  629  Lyman  Ave.,  Oak 
Perk,  III.  

•  ESO-S  is  licensed  by  Eastman  Kodak  Co.  to  pro- 
cess your  double-8mm.  films.  45c.  Univex,  15c.  3945 
Central,  Kansas  City,  Mo. 

MISCELLANEOUS 

•  STILL  PHOTOGR^PHERS!  Before  your  photos 
of  individuals  can  be  sold  with  safety,  you  must 
have  a  model  release  giving  legal  right  to  S'»ll 
the  picture  for  publication  or  advertising  purpos  s. 
Model  release  forms  are  now  available,  rea  ly 
printed  in  authentic  legal  manner.  50  for  25c  (coin) 
postpaid.  VER  HALEN  PUBLICATIONS,  6060  Sunset 
Blvd.,   Hollywood,  Calif. 


'  ORDER  FOR  SUBSCRIPTION 

Home  Movies  Magazine 

12  MONTHS  FOR  $2.50  IN  U.  S. 
In  Canada,  $3.50 — Foreign,  $3.50 
SPECIAL  OFFER:  2  Years  for  $4.00  in  the  U.  S. 

OME  MOVIES 
Q60  Sunset  Blvd. 
ollywood,  CaHf. 


S«nd  to 


Address 

City 
3  New 


State 


Li  Renewal 


Gift 


City  State  

□  New        □  Renewal  □  Gift 


Enclosed  find  $. 

Date 

Sent  in  by 
Address. 

City  


19 


State. 


NO  iiUbbUKIKTIONS  ACCEPTED  FOR  LESS  THAN  ONE  YEAR 


★★★★★★★★★★★★★★★★★★★★ 


Send  ThiS' 

WITH  ONE  DOLLAR  .  . 


HETHER  your  equipment 
is  8mm.  or  16mm. — and  no  matter 
how  long  you  have  been  shooting 
movies — you  should  enroll  now  and 
join  that  grand  organization  which 
incites  a  friendly  and  fraternal  feeling 
between  all  amateur  cinematog- 
raphers,  THE  REEL  FELLOWS. 

All  sorts  of  advantages  immediately 
become  available  to  aid  you  on  your 
glorious  trip  to  more  fun,  friends, 
knowledge,  economy,  prestige  and 
standing  in  the  ranks  of  non-profes- 
sional movie  makers — when  you  join 
THE  REEL  FELLOWS. 

First  you  sign  the  coupon  above 
and  send  it  in  to  headquarters  with 
one  dollar.  It  is  just  as  simple  as  that. 
You  then  receive  a  gold  pin,  the  em- 
blem of  the  organization  which  intro- 
duces you  to  every  other  member  on 
sight.  Also  an  insignia  for  your  camera 
which  labels  your  equipment.  Your 
membership  card  completes  the  cre- 
dential package  you  receive  just  as 
soon  as  your  application  has  been  re- 
ceived by  THE  REEL  FELLOWS. 

Upon  request,  the  club  will  then 
forward  to  you  a  list  of  other  members 
in  your  community  so  you  may  make 
friendly  contact  with  all  those  ama- 


-It 


THE  REEL  FELLOWS 

c/o  Home  Movies,  6060  Sunset  Blvd., 

Hollywood,  California. 

I  am  enclosing  one  dollar  ($1)  membership  fee,  for 
which  please  enroll  me  as  a  member  of  The  Reel  Fellows 
and  send  me  my  membership  card,  camera  insignia,  and 
gold  emblem  pin.  I  have  been  shooting  movies  (length 

of  time)  

My  equipment  is  8mm  i6mm  


3f 


□ 


Name.. 


Addr 


City   State.. 


A- 

3f 


★*★★*★★**★★★★*★★★★★* 


And  Become  .  .  . 

A  REEL  FELLOW 

You  Owe  It  To  Yourself  To  Get  The  Most  Fun 
Out  Of  Making  Movies  By  Joining  Right  Now! 


teur  movie  cameramen  pledged  to 
cooperate  with  you.  According  to  the 
locality  in  which  you  live  you  may  or 
may  not  find  that  there  is  already  a 
charter  branch  of  the  organization.  If 
not,  help  the  others  start  one.  In  any 
case,  boost  with  your  fellow  members 
for  your  own  local  club  of  THE  REEL 
FELLOWS. 

Give  a  helping  hand  wherever  and 
whenever  you  can.  You'll  find  the 
other  members  doing  just  that  for 
you.  That's  the  spirit  of  the  finest 
bunch  of  movie  amateurs  that  ever 
clicked  a  cine  camera.  You'll  really 
begin  to  appreciate  it  when  you  join 


the  question-and-answer  correspond- 
ence phase  of  the  club  now  being  en- 
joyed by  hundreds  of  members  across 
country.  Or  when  you  go  on  your  va- 
cation and  discover  that  wherever  you 
go,  you'll  find  THE  REEL  FELLOWS. 

Yes,  if  you  own  a  camera  and  have 
the  slightest  spark  of  enthusiasm  in 
your  blood,  you  owe  it  to  yourself  to 
join  today.  Then  watch  that  spark 
explode  and  free  those  pent-up  emo- 
tions of  yours — to  go  places  and  do 
things — shooting  for  "The  Movie  of 
the  Month"  and  the  many  other 
awards  available  to  all  members  of 
THE  REEL  FELLOWS. 


REEL  FELLOWS 


FRIENDLY      FRATERNITY      OF      MOVIE  AMATEURS 


(D 


II 


V 


A — You  read  a  letter  in  your  boy's  ovmi  wriun?,  like  that  reproduced  these  letters— in  the  form  of  photographic  him.  C — On  this  one  roll  of 
above.  B — The  three  small  boxes  in  the  photograph  contain  over  5000  of      16-mm.film — shoNsTi  in  reduced  size — 1  "00  letters  have  been  photographed. 


0X0 


created,  U.S.  Government  adopts  "V"— MAIL7.. 
for  communication  witK  our  men  on  distant  touts 


xoiR  BOY  writes  you  a  letter  on  a  sheet 
of  paper  —  regular  letter  size.  This  is  pho- 
tographed on  Kodak  microfilm — is  reduced 
in  size  to  about  a  quarter  of  a  square  inch 
...Now  it  has  only  1/100  of  the  weight 
of  normal  mail. 

With  thousands  of  other  letters— 85,000 
letters  weighing  2000  pK)uncls  weigh  only  20 
when  reduced  to  microfilm  —  ii  is  s^ifdy 
flown  from  his  distant  outp>ost  to  America. 

Here,  again  through  photography,  the 
letter  addressed  to  you  is  "blown  up"  to 
readable  size— folded,  sealed  in  an  envelojie, 
and  forwarded  to  you.  It  is  as  clear  as  die 
original  writing.  It  really  is  the  writing  of 
your  boy  because  it's  a  photographic  prinL 

.\nd  your  letters  to  him,  which  you  write 


on  special  forms,  go  by  the  same  space- 
saving.  time-sa\-in£  V--- —  Mail. 

Kodak  developed  and  perfected  the  proc- 
ess .. .  Pan  American  Airways  and  British 
CHerseas  Airwavs,  the  t^vo  great  pioneers  in 
transoceanic  air  transport,  blazed  the  air  trails 
.  .  .  and  the  three  companies,  as  .-Virgraphs, 
Ltd.,  offered  the  service  to  the  American 
and  Briush  governments. 

I.N  .\PRiL,  1941,  under  the  trademark  ".Air- 
graph," England  first  employed  the  s^-stem 
to  solve  the  problem  of  getting  mail  to  and 
from  the  forces  in  the  Near  Elast.The  Airgraph 
Sptem  was  gradually  expanded  undl  it  knits 


the  Briush  Elmpire  together  with  about  a 
miUion  letters  a  week  —  personal  and  officiaL 

-And  now  the  men  serv  ing  overseas  in  the 
.American  armed  forces  also  have  the  benefits 
of  this  form  of  speedy  correspondence. 

Airgraph,  or  V  Mail  as  it  is  called 

here,  is  an  adaptadon  of  Kodak's  Reccrdak 
Systan  which  has  revolurionized  die  record- 
keeping methods  of  thousands  of  banks  and 
business  houses.  Many  records  of  die  U.S. 
Census,  Social  Securitv",  and  .Army  Selecdve 
Service  are  on  microfilm  —  error-proof,  tam- 
per-proof, lasdng  photographic  copies  of 
the  original  bulkv  records . . .  Eastman  Kodak 
Company,  Rochester,  N.  Y. 


SERVING  HUMAN  PROGRESS  THROUGH  PHOTOGRAPHY 


Price  25c 


YEARLY  SUBSCRIPTION.  $2.50 


Ij  1  ill  A  Ij  entertainment  .  .  . 


Highlight  your  holiday  entertainment  with  a  home 
movie  show  featuring  animated  cartoons  from 
renowned  Hollywood  Producers — movies  of  popular 
animated  screen  characters  now  available  to  you 
for  home  projectors. 


.  .  .  at  low  cost! 

In  8inm.  and  16mm.  animated 
cartoon  films. 


MICKEY  PLAYS  SANTA  CLAUS— Mickey 
and  Pluto  as  street  musicians,  are  mistreat- 
ed by  a  rich  family.  Taking  toys  and  tree 
of  spoiled  rich  boy,  they  make  Christmas 
merry  for  poor  family.  No. —  1401-B. 


MICKEY'S  ORPHAN  CHILD— An  orphan 
left  on  their  doorstep,  Mickey  and  Pluto 
have  a  hilarious  time  caring  for  it.  They 
soon  find  orphan  is  more  than  a  match  for 
them.  Order  by  No. — 1501 -A. 


CHRISTMAS  CHEER— Featuring  the  three      DR.  OSWALD    Oswaia  aamimsrers  a  mus- 


monkeys,  Meany,  Miny  and  Moe,  who 
bring  cheer  to  a  poor  family  on  Christmas 
day.  An  ideal  yuietide  film  for  children. 
Order  by  catalog  No. — 1205-A. 


tard  plaster  to  his  patient  only  to  have  it 
boomerang  back  at  him  with  hilarious  re- 
sults. Entertaining  to  young  and  old.  Order 
by  No. — 9-A. 


BOSKO  S  BAD  WOLF— Bosko  dreams  he 
is  chasing  a  big  wolf  and  gives  the  animal 
the  worst  of  it,  only  to  find  it  was  his  pal 
Bruno  disguised  in  a  wolf-hide  rug  I  Order 
by  No. — 1803-A. 


BOSKO  S  SPOOKS— Bosko  and  Bruno  in- 
vestigate a  deserted  house,  run  on  to  what 
they  think  are  spooks,  only  to  discover  they 
have  unwittingly  been  fooling  themselves. 
Order  by  catalog  No. — 1805-A. 


TTilLLVWOOl)  FILM  EVrKKFKISiS! 


I NCORPOR ATED 

0  SUNSET  BLVD.         •         HOLLYWOOD,  CALI 


1 


'^16  nek 


Featuring: 

Mickey  Mouse 
Minnie  Mouse 
Pluto 

and  oHiers 


IVa/tet 

Featuring: 

Oswald  Rabbit 
Me^ny 
Miny 

and  Moe 


at  man 


PRICES 

100  Ft.  16mm.  $3.00 
50  Ft.    8mm.  1.50 

^Except  1401-B,  "Mickey  Plays 
Santa  Claus" — priced  as  follows: 

200  Ft.  16mm  $6.00 

100  Ft.    8mm   3.00 


\fiMISORYlDJIQM. 


A.  K.  BAUMGARDNER 

Peoria  Cinema  Ciub 

>ETER  BEZEK 

Chicago  Cinema  Club 

,.  JAMES  BfALSON 

Ams+eur  Motion  Picture  Ciub  of  St,  Louis 

.  MOSS  BROWN 

!  Dallas  Cinema  Club 

ivALTER  BRACKEN 

The  8-16  Movie  Ciub,  Phifadetphia,  Pa. 

V.  EMERSON  CLYMA 

Detroit  Society  <>(  Cinematographers 

tUSSELL  A.  DtXON 

Pittsburgh  Amateur  Cinema  Club 

r-'RiL  DVORAK 

Suburban  Amateur  Movie  Club 

HUR  E.  GIBBS 

Portland  Cine  Club 

A.  HOOK 

Seattle  8mm  Club 

ALFRED  F.  KAUFMAN 

Indianapolis  Amateur  Movie  Club 

.  E.  NESTELL 

Cinemen  Club 

URCISSE  A.  PELLETIER 

Toronto  Amateur  Movie  Club 

ALBERT  B.  PETERSON 

Metropolitan  Cine  Club 

s.  THEO.  ROTH 

Sherman  Clay  Movie  Club 

;.  O.  ROUNTREE 

Bay  Empire  8mm  Movie  Club 

.  PAUL  SNYDER 

Norlolfc  Amateur  Movie  Club 

EED  E.  SNYDER 

Des  Moines  Y.M.C.A.  Movie  Club 

1.  F.  StSSEL 

Austin  Movie  Club 

;URTtS  O.  TALBOT 

Metro  Movie  Club  ot  Chicago 


tered  as  Second-Class  Matter,  May  6,  1938,  at 
5  Postofflce  at  Los  Angeles,  Calif.,   under  the 

Act  of  March  3,  1879. 
bscription   rates:   U.   S.  $2.50   per  year.  Single 
pies    25c.     Adverising    rates    on  application. 


Merry  Christmas  to  all! 


.  oome  

MOYIES 


K*g.  V.  S.  tat.  Off. 

Copyright  1942  and  published  monthly  by  Ver  Halen 
Publication!,  Hollywood,  Calif.  No  part  of  magazine 
may    bo    reprinted    without    specific  permission. 

Mnnbtr  Audit  Burttu  of  Circulttiom 

CONTENTS  FOR  DECEMBER,  1942 

INFORMATION   PLEASE    414 

THE    READER    SPEAKS   4^2 

REVIEWS  OF  AMATEUR  FILMS   454 

HOME  MOVIE  TITLES  FULL  PAGE     456 

PLAN  YOUR  CHRISTMAS  MOVIES  NOW.' — By  Walter  Broivn   457 

ELEVEN  PRIZE  FILMS  AND  HOW  THEY  WON  By  J.  H.  SchoCft   458 

i6mm.  SCREEN  TESTS  AIDING  TALENT  SEARCH — By  Ctirth  Randall  460 

HIS  BARNYARD  MOVIES  PAID  OFF — By  Warren  Garin   461 

NOW  they're  SHOOTING  35! — By  Jack  Iric'in  .   462 

HOW  I  made  my  PRIZE-WINNING  FILM — By  Dr.  Kicbard  L.  Cassell  463 

FILMING  YOUR  FIRST  SCENARIO — By  Stanley  E.  Andrews   464 

MOVIE  OF  THE  MONTH — By  J.  H.  Schoen   465 

THE  EXPERIMENTAL  CINE  WORKSHOP   466 

EMULSION    RATING    CHART    474 

ANNUAL   INDEX    478 


CHAS.  |.  VerHALEN 

PUBLISHER 


C.  I.  Ver  HALEN,  JR. 

ASSOCIATE  PUBLISHER 


OFFICE  OF  PUBLICATION 
6060  Sunset  Boulevard,  Los  Angeles,  Calif. 
Phone  GRanite  5149 

NEW  YORK  OFFICE 
Everett  Gellert,  62  West  45th  Street 
Vanderbilt  6-5254 


DECEMBER 

042 

N  U  M  B  E  R  1  2 
VOLUME  IX 


REEL  FELLOWS 

A  friendly  fraternity  of 
movie  amateurs  spon- 
sored by  Home  Movies 
magazine.  Your  mem- 
bership is  invited. 


ARTHUR  E.  GAVIN 

EDITOR 


GEORGE  W.  CUSHMAN 
).  H.  SCHOEN 

Associate  Editors 


C.  E.  BELL 

Photographic  Editor 


L.  C.  BUSCHER 

Art  Director 


HOLLYWOOD'S        MAGAZINE        FOR       THE        MOVIE  AMATEUR 


PACE  450 


HOME  MOVIES  FOR  DECEMBER 


THE 

MOST 

FOR 

YOUR 

MOVIE 

MONEY! 

That's  the  aim  of  every  camera  user — and 
that's  what  you  have  with  KIN-O-LUX 
MOVIE  FILM.  For  the  speed  and  latitude 
to  "get"  the  picture  and  the  projection 
quality  to  "give  "  finer  results  provide  a 
more  complete  enjoyment  in  motion  pic- 
ture making  —  at  prices  lower  than  any 
other  film  of  comparable  quality. 

KIN-OLUX 

MOVIE  FILMS 


KIN-O-LUX  GOLD  SEAL 

Indoor  Only 
(No  Outdoor  Ratings) 

Weston  100 

Scheiner  29' 


KIN-O-LUX  No.  2 
Outdoor 

Wes-or  12- 
Sc*ie>e'  20' 


KIN-O-LUX  No.  3 
Indoor-Outdoor 

Weston  50;  Tung  .40 
Scheiner  26°; 
Tung  .24 


KIN-O-LUX  No.  I 
Outdoor 

V/es'o-  8; 
Scheiner  18' 


Go  to  your  dealer  today.  AsIc  for  KIN-O- 
LUX  FILMS  in  the  sire  and  footage  you 
require.  They  are  still  available.  If  your 
dealer  cannot  supply  you  (the  demand 
grows  greater  every  day)  go  to  another 
nearby  dealer  or  write  directly  to  us. 

KIN-O-LUX.  Inc. 


Dept.  HI2 


105  W.  40  St. 


NEW  YORK  CITY 


forma  tion 

PLEASE 


•  Readers:  This  department  is  for  your 
benefit.  Send  in  your  problems  and  our 
technical  board  of  professional  cameramen 
will  answer  your  question  in  these  col- 
umns. If  an  answer  by  mail  is  desired, 
enclose  addressed  stamped  envelope. 


What's  A  Stop?  (Don  Smith,  Camp 
Young,  Calif.) 

Q.  Please  explain  just  what  a  lens 
"stop"  is.  Is  it  the  difference  in  lens 
opening  between  whole  numbers}  In 
other  words — would  setting  a  lens  from 
to  f / 11  be  considered  closing  down 
one  "stop?" 

A.  Rather  than  a  definition  of  a  stop, 
we  assume  you  wish  to  know  to  what 
extent  increasing  or  decreasing  expos- 
ure constitutes  a  full  stop.  Although  not 
all  lenses  are  calibrated  alike,  the  fol- 
lowing table  embraces  the  English- 
American  series  of  stop  numbers.  Each 
f    number  is  a  ftdl  stop: 

f/'i 

f/i.4 

f/z 

i/i.S 

f/4 
f/5.6 
f/8 
f/ii.3 

f/i6 

Closing  down  the  lens  from  f  9  to 
f  II  would  amount  to  Yz  stop. 

Switching  To  Eight  (Jas.  Landon, 
Duluth,  Minn.) 

0.  I'tn  going  to  economize  for  the 
duration  and  switch  from  i6-mm.  to 
ivim.  Can  I  have  my  library  of  i6mm. 
films  reduced  to  %mm}  Hon  much  will 
it  cost} 

A.  Yes,  your  i6mm.  films  can  be  du- 
plicated in  8mm.  width.  There  are  a 
number  of  laboratories  who  specialize  in 
this  work,  one  of  which  is  the  George 
W.  Colburn  Laboratory,  995  Merchan- 
dise Mart,  Chicago,  111.  You  will  have 
to  write  to  them  for  prices. 

Light  and  Meters  (Jerome  Halsey, 
Seattle,  Wash'n.) 

Q.  What  is  the  difference  between 
the  terms  "Incident  light"  and  "re- 
flected light"  as  applied  to  the  use  of 
exposure  meters} 

A.  The  light  falling  upon  an  object 
is  called  the  incident  light.  Reflected 
light  is  that  reflected  by  the  scene  or 
object  towards  the  camera.  With  the 
latter,  reading  is  taken  with  meter  at 
camera  position  or  with  meter  pointed 
•  Continued  on  Pa^e  4-- 


* 
* 
* 
* 


-fl  MQ55a^Q  to 
tke  public  and 
tfie  tet&iUt: 


COERZ 


PHOTO  LENSES 


AMERICAN  product 

since  1899 

made  by 

AMERICAN  labor 

in  an 

AMERICAN -owned 

factory 


We  have  no  connection 
with  any  other  firm 


TO  THE  RETAILER: 

Because  of  their  accuracy  Goerz  lenses 
are  front  line  photo-optical  equipment  in 
many  fields  of  activity  of  our  Nation  at 
War  .  .  . 

The  utmost  is  being  done  to  meet  the 
demands  of  the  Government  for  these 
photographic  precision  tools  .  .  . 
from  time  to  time  there  may  be  available 
some  of  tijese  fine  anastigmats  for  civilian 
use  and  so  we  invite  -^ou  to  urite  us 
about  your  requirement i  .  .  . 


There  Is  a  Goerz  Lens  for 
Every  Purpose 

To  help  you  in  the  selection  of  the 
proper  lens  our  long  experience  is  at 
your  service — For  detailed  information 
and  prci  ailing  prices  see  your  dealer  or 
ADDRESS  DEPT.  HM-12 

C.  p.  Goerz  American  Optical  Co. 

Office  and  Factory 

★  317  East  34th  Street        New  York  * 


FOR    ALL    MOVIE    FILTER  NEEDS! 

*  Harrison  CINE  KIT 


4  FILTERS  and  DUAL-SNAP  SHADE  TO  MEET 
ALL  MOVIE  FILTER  NEEDS— both  Kodachrome 
and  Black  and  White. 

The  new  Harrison  CINEKIT  contains  a  special  .Aero 
T>x-k  Ring,  a  Dual-Snap  Aluminum  Sunshade,  and  the 
folloMins  de  luxe  Duraline  Filters:  YL-6.  GY-4. 
RD-4.  and  GR-4.  Case  is  of  durable  5-oz.  Elkhide. 
felt  lined    $6.95  and  up. 


(If  desired,  Kodarlirome  users 
may  substitute  a  C-4  and 
U.\ZE  filler  for  any  two  of 
lilt-  atnne. 


Write  for  Free 
Illustrated  Foldir 
Today 


HARRISON   &  HARRISON 

OPTICAL  ENGINEERS 
8351  Santa  Monica  Blvd.  Hollywood,  Calif. 


HOME  MOVIES  FOR  DECEMBER 


PAGE  451 


BRING  CHRISTMAS  JOY  TO  YOUR  HOME  SCREEN! 


,The  children's  woe  at  finding  no  gifts  turns  to  joy 
after  a  rollicking  movie  cartoon  treat!  Santa  arrives! 
Wooden  soldiers  march!  Mice  steal  toy  train!  Like  magic  the 
missing  gifts  appear!  A  grand  Christmas  movie  for  your  fam- 
ily! Order  it— show  it  this  Christmas! 

All  Castle  16  mm.  Films  are  Vap-O-Rated. 
All  Castle  8  mm.  Films  are  also  treated. 


ORDER  FORM 


Pttitt  send  tk( 

matlon  plctiir«$ 
ctKckedlDthe  %\zt 
and  idittoa  tndi- 
uted:        ,  ' 

8  mm. 

16  mm. 

SO  It. 

180  It. 
$55_0 

100  It. 
$215 

3S0  It. 

Stond 
350  It. 

"CHRISTMAS 
CARTOON" 

"NEWS  PARADE 
OF  THE  YEAR" 

"FOOTBALL  THRILLS 
OF  1942" 

Name  

Address- 


Stale- 

RemitHiiKe  encloied  □    Ship  C.O.D.  Q 


Copr.  'lM2,  Cutle  Fllnn,  !««. 


PACE  452 


HOME  MOVIES  FOR  DECEMBER 


The  Reader 


BKl 


SPEUS 


GET  IT  or  give  it 
for  Christmas 

The  new  G-E  Exposure-meter  Manual  is 
packed  with  "practical  stuff"  that  you  can 
use  every  time  you  take,  print,  or  enlarge  a 
picture.  Contains  97  pages  of  answers  to 
puzzling  exposure-meter  problems — all  up  to 
date,  all  authoritative,  all  checked  by  the 
G-E  Photo  Data  Service  Bureau. 

HERE'S  ONLY  A  PARTIAL  LIST 

OF  THE  CONTENTS 

Exposure  of  color  film 

How  exposure  affects  the  picture 

Subject  and  color  brightness 

Reflected-light  readings 

incident-light  readings 

Technical  explanation  of  exposure  problems 

Using  the  exposure  meter  as  a  light  meter 

Using  the  meter  in  the  darkroom 

Procedure  in  control  printing 

Don't  be  without  this  fund  of  e.xposure- 
meter  information.  You'll  get  better  picture 
results — more  fun  out  of  your  picture  making 
— and  you'll  make  the  most  of  your  photo 
materials.  Get  this  new  book  at  your  G-E 
photo  dealer's  today.  General  Electric  Co.f 
Schenectady,  N.  Y . 

PRICE.  $1.00 
SOLO  THROUGH  PHOTO  DEALERS  ONLY 


GENERAL  %  ELECTRIC 


Lens  To  Title 

In  the  November  issue,  reader  F.  M. 
Spoouagle  questioned  Stanley  Andrews' 
statement  in  a  recent  article  on  the  sub- 
ject of  titling  to  the  effect  that  " .  .  . 
distance  from  title  card  should  be  meas- 
ured from  camera  lens  when  an  auxili- 
ary lens  is  used."  Spoonagle  contends 
measurement  should  begin,  not  fram 
the  camera  lens,  but  from  center  of 
concave  surface  of  the  auxiliary  lens 
placed  ahead  of  the  camera  lens  for  titl- 
ing purposes. 

Answering  Mr.  Spoonagle  this  month, 
at  our  behest,  is  Dr.  A.  K.  Baumgardner 
of  Peoria,  III.,  a  specialist  in  optics  and 
one  of  Home  Movies'  Advisory  Editors: 

Sirs:  Regarding  Mr.  Spoonagle's  state- 
ment, I  am  inclined  to  think  that  we  are 
splitting  hairs  to  a  finer  degree  than  is 
necessary  for  our  purpose,  but  am 
pleased  to  advance  my  ideas  and  develop 
them  further  if  there  is  any  need  to 
do  so. 

To  refer  to  the  article  by  Stanley  An- 
drews in  which  he  states  that  the  dis- 
tance should  be  measured  from  the  cam- 
era lens  to  the  title  card  when  an  aux- 
iliary is  used,  I  feel  that  he  is  correct, 
with  the  provision  that  auxiliary  lenses 
are  always  placed  as  close  to  the  camera 
lens  as  is  possible.  All  instructions  rela- 
tive to  the  use  of  auxiliaries  stress  the 
importance  of  this,  considering  that 
deep  lens  mounts  or  shades,  or  matte 
boxes  which  would  hinder  one  in  plac- 
ing the  auxiliary  close  to  the  camera 
lens  should  be  removed  or  modified. 
However,  the  camera  lens  with  an  auxi- 
liary added  should  be  considered  as  a 
complete  unit  and  if  the  two  elements 
are  in  reasonably  close  contact,  the 
measurement  is  practically  the  same.  At 
any  rate  the  difference  is  so  slight  that 
it  can  be  ignored  for  all  practical 
purposes. 

To  explain  this  further,  we  know 
that  we  must  set  the  camera  lens  for 
infinity  which,  if  used  alone,  will  focus 
parallel  rays  of  light  at  its  own  focal 
length.  When  we  photograph  a  title  at 
short  range,  we  do  not  have  parallel 
rays  of  light  and  therefore  place  the 
auxiliary  in  front  of  the  camera  lens 
which  will  render  them  parallel  before 
entering  the  lens  system  in  order  to  re- 
tain the  same  focal  length. 

If,  however,  the  two  lenses  cannot 
be  placed  close  to  each  other,  certainly 
the  distance  should  be  measured  from 
the  inner  surface  of  the  auxiliary  to  the 
title.  In  advanced  optical  computations 


this  is  the  general  practice.  Therefore, 
I  do  not  feel  that  Mr.  Spoonagle's  op- 
tometrist friend  is  wrong  because  he 
suggests  his  theory,  as  he  is  applying 
advanced  optical  principles  which  is 
commonly  used  in  lens  systems.  In 
ophthalmic  lenses  which  are  tisually 
curved  to  correspond  to  the  excursions 
of  the  eye,  we  have  what  we  know  as 
vertex  refraction  and  refers  to  the  ef- 
fective power  of  the  lens  on  its  ocular 
or  back  surface,  and  all  computations 
are  made  from  there.  There  is  such  a 
wide  variety  of  lens  powers  for  the 
ophthalmic  adaptations  that  they  also 
involve  lenses  of  various  thickness  and 
curve,  and  since  all  spectacle  lenses  are 
worn  at  about  the  same  distance  from 
the  eye,  computations  are  made  from 
there.  If  a  spectacle  lens  is  drawn  away 
fiom  the  eye,  it  increases  in  power  or 
has  effectively  more  "plus." 

The  main  reason  for  placing  an  auxili- 
ary photographic  lens  close  to  the 
camera  lens  is  to  avoid  the  marginal  dis- 
tortion of  the  auxiliary  itself.  The  rays 
of  light  going  through  the  auxiliary  re- 
main parallel  for  the  interval  which  ex- 
ists between  the  two  lenses,  if  the  lens 
is  of  proper  power  to  correspond  to  the 
distance  of  the  title.  If  the  lens  is  drawn 
away,  marginal  distortion  increases  and 
although  the  rays  of  light  would  still 
be  parallel  as  long  as  the  proper  distance 
is  maintained  between  title  card  and 
auxiliary,  we  would  soon  be  photograph- 
ing the  lens  itself  rather  than  the  light 
which  comes  through  it. 

It  is  my  contention  that  for  all  stand- 
ard lens  mounts  which  are  considered 
regular  equipment  on  present  8  mm.  and 
i6mm.  cameras,  an  auxiliary  placed  in 
front  of  the  camera  lens  will  be  close 
enough  that  the  measurement  can  be 
made  from  either  the  auxiliary  or  the 
camera  lens  without  endangering  the 
quality  of  the  photographed  image.  The 
interval  between  the  two  lenses  should 
be  no  more  than  half  an  inch  at  most 
and  usually  less.  This  difference  appears 
to  me  to  be  so  slight  that  it  is  doubtful 
if  one  could  distinguish  two  titles  pho- 
tographed with  each  of  the  two  meas- 
urements. 

I  shall  be  pleased  to  continue  any 
controversy  that  may  arise  from  this 
and,  if  necessary',  to  go  deeper,  will  of- 
fer any  information  I  can. — Dr.  A.  K. 
Baumgardner. 


m 


SHARE 

leoe^  MOVIES! 


Many  people  who  had  planned  to  buy 
Revere  8  mm.  movie  equipment  for 
Christmas  will  be  unable  to  do  so  this 
year.  It  is,  therefore  more  important 
than  ever  that  those  who  are  fortunate 
enough  to  own  equipment  share  their 
pleasure  with  others.  If  you  have  a 
camera  why  not  take  movies  of  your 
neighbor's  children  now  and  surprise 
them  with  a  reel  of  film  this  Christmas? 


ARE  NOW 

The  ^uU  Imte  JOB  OF  THOSE  WHO  MADE 

CAMERAS  AND  PROJECTORS 


mi 


* 

WAR  SAVINGS  ^ 
^    BONDS  and  ^ 
^  STAMPS  ^ 
M  ^  ^ 


IF  YOU  are  planning  to  buy  a  Revere 
8mm  motion  picture  camera  or  projector 
for  Christmas — you  had  better  start  look- 
ing now!  Some  dealers  still  have  a  few  avail- 
able. But  their  stocks  are  dwindling  fast. 
For  Revere  is  now  fully  converted  to  the 
production  of  precision-built  aircraft  in- 
struments and  war  supplies. 
On  land  and  sea  as  well  as  in  the  air,  preci- 
sion-built Revere  radio  instruments  and 
parts  help  to  maintain  vital  communica- 
tion contacts — so  essential  to  coordinated 
war  efforts. 

Other  Revere  made  war  products  (the  na- 


ture of  which  cannot  be  disclosed)  are  also 
helping  our  armed  forces  rid  the  world  of. 
tyrants  who  would  destroy  freedom,  self- 
government  and  everything  we  hold  dear. 
Revere  is  proud  to  have  been  entrusted  with; 
the  production  of  these  war  supplies  all  of,| 
which  require  high  standards  of  accuracy,  ij 
Revere  craftsmen,  accustomed  to  meeting;' 
rigid  specifications  for  precision  in  makingi 
Revere  Cameras  and  Projectors,  welcome! 
the  privilege  of  applying  their  skill  to-: 
products  which  will  help  speed  the  finals 
victory.  Revere  Camera  Company,  Chi- 
cago, Illinois.  ; 


2.ualUtf>  S 


PACE  454 


HOME  MOVIES  FOR  DECEMBER 


WILLO 

ALL -GEAR  TRIPOD 

A  REVOLUTIONARY 
COMBINATION 


The  rapidity  with  which  this 
outfit  can  be  set  up  .  .  .  its  sturdi- 
ness  and  flawless  panning  make 
it  a  perfect  combination. 

#  Assures  steady  horizontal  movie 
panoramas. 

#  Panning  and  tilting  control. 

#  Legs  twist  to  shorten  or  lengthen. 

#  Top  is  easily  removed. 

#  No  more  annoying  handles  to  get 
in  the  way. 


^27.50 


Mail  Orders  Filled 


no  West  32nd  Street,  N.  Y. 

World's  Largest  Camera  Store 
Built  on  Square  Dealing 

Established  189S 


REmws... 


o(  c4mateur  fllm^ 


B  y 


S       C        H        0        E  N 


iOVIES  of  children  continue  to 
make  up  more  than  60%  of  amateur 
filming.  While  some  of  these  pictures 
consist  of  nothing  more  than  an  assort- 
ment of  record  shots  filmed  at  random 
and  at  widely  separated  intervals,  still 
an  increasing  number  of  fathers  and 
mothers  who  own  cine  cameras  have 
gone  in  for  more  serious  picture  making 
of  their  children  with  the  result  that 
more  and  more  good  continuities  lately 
have  been  submitted  to  Home  Movies' 
editors  for  review.  The  reviews  which 
follow  here  are  of  three  such  pictures 
— each  one  a  masterly  production  from 
the  standpoint  of  continuity  and  editing. 

^^The  Things  I  Like  To  Do"  em- 
bodies an  idea  applicable  to  almost  any 
family  with  children,  combining  scenery 
with  shots  of  a  little  boy  and  girl  in 
natural  every  day  activity.  Picture  opens 
to  introduce  the  two  children  in  a 
beautiful  garden.  They  stop  to  rest 
close  by  a  flower  bed  and  the  little  boy 
asks:  "What  do  you  like  to  do  best?" 

By  way  of  reply,  what  the  little  girl 
likes  to  do  best  is  told  in  sequences  of 
scenes  of  her  favorite  activities.  She 
tells  the  boy  she  likes  to  play  in  a  beau- 
tiful garden  and  there  is  a  sequence,  well 
edited,  that  shows  her  walking  through 
flower  beds  and  smelling  of  the  pretty 
buds  and  blossoms.  She  likes  to  swing, 
play  in  the  surf  at  the  beach,  to  swim, 
and  dozens  of  other  activities  all  of 
which  are  pictured  in  sequences  that 
begin  after  each  spoken  title  in  which 
she  tells  the  boy  of  her  likes. 

The  picture  is  in  i6mm.  Kodachrome, 
running  225  feet  in  length.  It  is  excel- 
lently photographed  and  marked  by 
consistently  good  exposure  in  spite  of 
the  fact  many  of  the  shots  were  made 
in  full  or  semi-shade. 

Titling  is  an  outstanding  feature  both 
from  standpoint  of  composition  and  ex- 
ecution. Text,  well  composed,  was  ar- 
ranged in  block  title  letters  over  wall 
paper  backgrounds  in  harmony  with 
theme  of  picture. 

While  this  picture  received  a  3 -star 
merit  leader,  it  came  pretty  close  to 
making  the  Movie  of  the  Month. 

Adventure  At  Six"  at  once  suggests 
a  splendid  idea  for  a  picture  of  a  child 
— a  picture  that  depicts  a  tot's  activi- 
ties after  six-o'clock  when  most  of  them 
are  put  to  bed  for  the  day.  In  this  in- 


stance, a  naughty  little  boy  put  to  bed 
early,  dreams  he  runs  away  from  home. 

The  dream  sequences  show  him 
breaking  his  pig  bank  and  then  wrap- 
ping up  the  coins  and  a  few  meager 
belongings  in  a  red  bandanna  and  steal- 
ing out  of  the  house  without  bidding 
his  parents  goodbye.  After  traveling 
some  length,  he  smells  the  invitmg 
aroma  of  mulligan  stew  cooking  over  a 
campfire  and  encounters  some  tramps 
encamped  beside  a  railroad  track. 

The  tramps,  friendly  at  first,  invite 
the  lad  to  join  them.  One  spies  the  lads 
kit  and  asks  him  to  show  what  is  in  it. 
When  the  tramp  spies  the  coins  he  at- 
tempts to  snatch  them  from  the  lad 
and  a  tussle  ensues.  At  this  point  the 
boy  awakes  to  find  his  mother  actually 
tussling  with  him  in  an  effort  to  awaken 
him  for  breakfast. 

The  story  was  carefully  worked  out 
and  flowed  fairly  smoothly.  Interest  in 
the  climactic  scenes  could  have  been 
heightened  by  cutting  to  a  few  more 
closeups,  especially  where  boy  encoun- 
ters tramps.  What  is  needed  here  is  a 
closeup  of  the  tramp  as  he  discovers  the 
'boy  peering  at  them  from  a  nearby 
thicket;  the  tramp  calling  slyly  to  the 
boy;  and  then  a  closeup  of  the  boy 
showing  his  expression  in  reaction  to 
this.  On  the  other  hand,  filmer  employed 
closeups  at  other  points  to  accent  in- 
terest in  the  story,  indicating  he  knows 
the  full  value  of  this  medium.  The  pic- 
ture received  a  3 -star  merit  leader.  It 
was  in  8mm.  and  ran  200  feet  in  length. 

A  splendid  story  idea  backed  up  by 
fine  photography  and  good  editing  and 
titling  is  "Lemonade,  Inc.,"  a  200-foot 
1 6mm.  Kodachrome  picture  produced 
by  A.  A.  Merrill,  Schenectady,  N.  Y. 
Story  concerns  two  teen  age  girls  who 
are  confronted  with  the  dilemma  of  a 
circus  in  town  and  no  funds  with  which 
to  take  it  in — having  spent  all  of  their 
weekly  allowance. 

Taking  a  cue  from  the  circus,  they 
decide  to  set  up  a  lemonade  stand  on 
the  lawn  in  front  of  their  house.  A  neat 
and  imposing  affair  it  is  too,  with  clean, 
sparkling  glasses  and  attractive  pitch- 
ers of  lemonade  and  orangeade.  How- 
ever, the  business  is  a  flop.  They  even 
mark  down  the  price  from  loc  to  5  c  per 
glass  but  sales  fail  to  materialize. 

Finally  a  farsighted  playmate — a  boy 
•  Continued  on  Page  477 


HOME  MOVIES  FOR  DECEMBER 


PACE  455 


mm. 


^^^^^  kL» 

BOSTON  COLL-FORDHftM 
NORTHWESTERN-ILLINOIS 
DUKE-NORTH  CAROLINA 
OHIO  STATE -MICHIGAN 
NOTRE  DAME-WISCONSIN 
DARTMOUrH-PfilNCETON 


Flashing  runs!  Smashing  tackles!  Lightning  plays  by  famous 
players!  Breath-taking  moments  from  the  year's  greatest  games! 
Here's  a  thrill  a  second!  A  great  sports  masterpiece!  The  football 
epic  every  fan  will  want  to  own  and  show!  Order  now! 

All  Castle  16mm.  films  are  processed  by  VAP-O-RATE. 
All  Castle  8mm.  films  are  also  treated. 


FILMS'  32-PAGE  CATALOGUE 


and 


'Jfcttoch, 


ange 


ton) 


4r 


Of? 


OVv 


RCA  BLDG. 
NEW  YORK 


FIELD  BLDG. 
CHICAGO 


RUSS  BLDG. 
SAN  FRANCISCO 


Please  send  Castle  Films'  "FOOTBALL  THRILLS 
OF  1942"  in  the  size  and  length  checked. 

8  mm.  50  ft   $1.75  □ 

8  mm.  180  ft   $5.50  □ 

16  mm.  100  ft   $2.75  □ 

16  mm.  360  ft   $8.75  □ 

16  mm.  Sound,  350  ft.   .     $17.50  □ 

Remittance  enclosed  □  Ship  C.O.D.  □ 

Send  Castle  Films'  FREE  Catalogue  .  .  .  □ 


Name_ 


Address^ 


City_ 


Slate_ 


 HM-12 

Copr.  1942.  Castia  Films.  Inc. 


HOME  MOVIES  FOR  DECEMBER 


S 


HERE'S  a  full  page  of  yuletide  movie  titles  prepared  by 
Edmund  Turner  especially  for  Christmas  Movies.  Designed 
to  fit  the  average  typewriter  titler,  many  of  them  suggest 
ideas  for  a  complete  holiday  continuity. 


HONE  MWU 

Pablished  in  Hollywood 
DECEMBER  1942 


•  If  your  youngsters  believe  in  Santa,  as  does  Joan  Caroll,  RKO  starlet,  pictured 
in  this  happy  Christmas  scene,  give  Santa  a  prominent  part  in  your  holiday  movie. 


PLM  ^our  Chri^tma^  movies  now,,. 


w 


HERE  are  two  ways  to  film  a 
Christmas  movie.  One  is  to  begin  shoot- 
ing, Christmas  morning,  without  any 
definite  plan.  The  other  is  to  prepare  a 
shooting  script  in  advance — and  follow 
it.  Usually,  where  we  follow  the  first 
plan,  we  eventually  find  ourselves  stag- 
ing a  few  post-Christmas  shots  in  Feb- 
ruary or  March  in  an  effort  to  strength- 
en the  continuity  weaknesses  observed 
in  a  leisurely  post-holiday  study  of  film- 
ing results  on  the  screen.  - 

The  thing  to  do,  then,  with  Christ- 
mas just  a  few  weeks  away,  is  to  plot 
our  holiday  picture  now.  Let  us  survey 
the  picture  possibilities  in  terms  of  con- 
tinuity of  our  family  and  home,  and 
plan  a  series  of  sequences  that,  when 
carefully  edited,  will  net  us  an  inter- 
esting and  successful  motion  picture  of 
our  holidays. 

A  young  married  couple  without  chil- 
dren will  plan  a  different  movie  story 
than  the  father  and  mother  with  a  cou- 
ple of  eager  youngsters  who  believe  in 
Santa  Claus.  The  family  planning  a  big 
dinner  and  a  houseful  of  guests  must 
slant  their  movie  filming  accordingly. 
Regardless  of  the  group  in  which  you 
belong,  your  movie  must  have  a  logical 
beginning  and  end,  with  continuity 
linking  sequences  in  between. 

Most  filmers  like  to  begin  their 
Christmas  pictures  with  a  symbolic 
shot — a  snowy  outdoor  landscape,  a 
wreath  on  a  door,  closeup  of  Christmas 
cards   being   addressed,   or  of  children 


W 


writing  letters  to  Santa  Claus,  etc.  Some 
filmers  will  shoot  their  entire  picture 
in  symbolic  shots,  picturing  Christmas 
activities  in  a  series  of  closeups  of  hands 
in  action — hands  addressing  cards,  writ- 
ing letters  to  Santa,  checking  off  Christ- 
mas lists,  wrapping  gifts,  trimming  the 
tree,  hanging  up  stockings,  tucking  the 
last  gift  among  others  at  the  foot  of 
the  Christmas  tree;  and  then  on  Christ- 
mas morning,  switching  on  tree  lights, 
opening  gifts,  examining  them,  setting 
the  dinner  table,  eating,  and  finally — 
switching  off  the  lights  at  close  of  a 
happy  Christmas  day.  This,  of  course, 
is  a  very  sketchy  record  of  Christmas, 
but  it  is  complete  and  retains  continuity 
until  the  final  scene. 

In  a  few  words,  continuity  in  a 
Christmas  film  story  means  beginning 
the  picture  and  following  through  with 
our  camera  step  by  step  as  the  day's 
events  take  place.  We  decide  to  begin 
with  a  c'-^seup  of  Jerry  fast  asleep.  He 
awakens,  clambers  out  of  bed  and  makes 
for  the  liv'ng  room.  ^X^e  pick  him  up  with 
camera  as  he  comes  through  living  room 
door;  as  he  stops  in  awe  at  sight  of  the 
gaily  decorated  tree  and  the  myriad  of 
toys  beneath  it.  Our  camera  follows  him 
as  he  moves  toward  the  tree  and  we 
move  in  closer  to  capture  the  interesting 
expression  that  comes  over  his  face  as 
he  reaches  the  electric  train  Santa 
brought.  In  this  same  manner  we  treat 
other  interesting  action  throughout  the 
day.  We  shoot  it  in  short  sequences  in- 


stead of  recording  the  action  pot-shot 
fashion. 

And  what  about  Christmas  filming 
ideas?  Usually  the  movie  amateur  will 
have  little  trouble  choosing  a  basic  idea 
for  his  holiday  film.  Where  there  are 
children  in  the  family,  action  naturally 
will  center  around  them.  The  story  can 
begin  with  the  usual  activity  of  writing 
letters  to  Santa  and  mailing  them;  of 
shopping  the  gaily  decorated  store  win- 
dows; hanging  stockings  over  the  fire- 
place; trimm.ing  the  Christmas  tree, 
mother  placing  the  gifts  about  after  the 
children  have  gone  to  bed.  A  variation 
of  this,  of  course,  is  to  have  father  cos- 
tumed as  Santa,  distributing  toys  be- 
neath the  tree. 

Following  this  should  be  a  sequence 
showing  the  children  discovering  their 
toys  on  Christmas  morn'  and  plenty  of 
closeups  should  picture  their  action  in 
ur;wrapping  gifts  or  playing  with  their 
newly-acquired  toys. 

For  those  whose  Christmas  will  con- 
sist of  a  large  gathering  of  friends  and 
relatives  for  dinner,  the  film  record  can 
begin  with  addressing  and  mailing  of 
invitations  or  Christmas  cards.  The  ar- 
riving guests  can  be  pictured  individual- 
ly as  they  deposit  gifts  beneath  the  tree 
and  again  as  they  gather  around  the  fes- 
tive dinner  table.  Concentrate  upon  in- 
dividual closeups  when  gift  distribution 
takes  place  after  dinner,  if  that  is  the 
plan,  and  some  amusing  shots  may  be 
had.  Often  Christmas  movies  are  brought 
tc  a  close  showing  all  gathered  about  the 
piano,  singing  Christmas  carols. 

•  Continued  on  Page  47 j 


457 


•  Representative  of  some  of  the  films  also  awarded  achievement  trophies  are  these  frame  enlargements  from  "Latitude  26,"  winner  of 
[>hotography  award;  "Rita  of  Rocky  Ranch,"  awarded  trophy  for  editing;  and  "White  Waters,"  trophy  winner  for  achievement  in  titling. 


eleven  Prize  3ilm^ 
c4nd  J4ow  ZJltey.  Won 


B  y 


ERE  it  possible  for  every  reader 
to  witness  a  screening  of  all  the  prize- 
winning  films  in  Home  Movies'  1942 
Amateur  Contest,  they  would  observe, 
in  the  exceptional  quality  of  photog- 
raphy, editing  and  titling,  the  unmis- 
takable results  of  Home  Movies'  un- 
ceasing editorial  efforts  to  raise  to  high- 
er standards  the  average  movie  ama- 
teur's technique.  In  every  instance,  win- 
ners of  the  eleven  trophy  awards  showed 
marked  improvement  over  contestants 
of  previous  years. 

The  Lloyd  Bacon  trophy  winner  is 
an  outstanding  example  of  consicentious 
amateur  motion  picture  production. 
And  when  Richard  Cassell,  its  producer, 
was  ushered  onto  one  of  the  sound  stages 
at  Warner  Brothers'  studios  to  receive 
fiom  director  Lloyd  Bacon  the  top  tro- 
phy award  for  his  brilliant  effort,  he 
must  have  experienced  the  thrill  that 
comes  once  in  a  lifetime.  For  Cassell 
deliberately  had  set  out  to  win  this 
award. 

"Warriors  of  Another  World,"  run- 
ning 800  feet  in  i6mm.  Kodachrome,  is 


a  documentary  of  fighting  insects  pre- 
sented in  a  highly  dramatic  manner. 
It  depicts  such  insects  as  ants,  black 
widow  spiders,  scorpions,  the  praying 
mantis  and  others  in  combat  with  nat- 
ural adversaries.  Each  battle  was  staged 
in  a  replica  of  natural  surroundings: 
desert  for  the  battling  scorpions,  a  brick 
wall  for  the  encounter  between  black 
widow  and  a  Jerusalem  cricket,  etc. 
Careful  attention  was  given  to  lighting. 
Lucid  titles  give  interesting  data  con- 
cerning subjects  in  the  film  and  Cas- 
sell's  exceptional  microscopic  photog- 
raphy bring  live  closeup  studies  on  the 
screen  of  the  multi-faceted  eyes  of  the 
fly,  the  sting  in  a  scorpion's  tail,  the 
awesome  face  of  the  black  widow  spi- 
der, and  others.  All  photography  was 
microscopic  or  semi-microscopic, 
achieved  through  use  of  lens  extension 
tubes.  More  complete  details  on  the  film- 
ing of  this  picture  are  given  by  the  pro- 
ducer elsewhere  in  this  issue. 

Receiving  the  trophy  for  First  Award 
in  the  scenario  films  class  was  "Rita  of 
Rocky  Ranch,"  a  400-foot  black  and 
£       All   ado     ^^'■^  8mm.  picture  pro- 
duced by  Roland  Ray  of 
Los  Angeles.  This  picture 
was    the    Movie    of  the 
Month    for    April  1942 
and  was  described  in  de- 
tail in  the  April  issue  of 
Home  Movies. 

Stor\'   concerns   an  at- 
tractive though  dishonest 


•  J.  0.  McCracken  with 
handsome  plaque  award- 
ed him  in  Home  Movies' 
contest  by  U.  S.  Forest 
Service  for  his  Forest  De- 
fense Film,  "Carelessly 
They  Start." 


young  woman  ranch  owner  with  a  piece 
of  land  to  sell.  Saturating  a  patch  of  it 
with  oil,  she  leads  a  prospective  buyer 
into  believing  it's  oil-bearing  land.  A 
secret  service  man  disguised  as  a  cow- 
hand nips  the  plot  and  a  bang-up  fight, 
western  movie  style,  climaxes  the  pic- 
ture. Camera  work  in  this  picture 
proves  it  is  possible  to  obtain  photo- 
graphy of  depth  and  sharp  focus  in 
8mm.  when  camera  is  in  the  right  hands. 
Editing  was  an  outstanding  feature  of 
this  picture  and  netted  Ray  a  second 
trophy  for  Achievement  in  Editing. 

"Latitude  26"  captured  second  place 
trophy  in  the  scenario  films  class.  Pro- 
duced by  Leo  Caloia,  Los  Angeles,  the 
picture  runs  400  feet  in  i6mm.  black 
and  white  and  was  the  Movie  of  the 
Month  for  January  1942.  Story  con- 
cerns a  hen-pecked  husband  given  to 
day  dreaming.  Given  a  schedule  of  Sun- 
day chores,  the  husband  falls  asleep  and 
dreams  he's  transported  to  the  trop- 
ical island  of  "Ah"  8000  miles  away 
where  he's  dined  and  entertained  by 
beautiful  native  girls.  Just  as  he's  about 
to  receive  a  kiss  from  one,  he's  awakened 
by  his  dog  licking  his  face.  His  irate 
wife  intercedes  at  this  point  to  put  him 
back  to  work  mowing  the  lawn. 

A  well  developed  original  stor)',  fine 
direction,  and  exceptional  editing  and 
titling  are  highlights  of  this  picture, 
second  only  to  the  fine  camera  work 
which  also  brought  Caloia  the  special 
trophy  award  for  achievement  in  pho- 
tography. 

"Well  I'll  Be  "  a  production  of  the 
Parkchester  (N.  Y.)  Cine  Club  and 
photographed  by  George  Kirstein,  took 
third  place  award  in  the  scenario  films 
class.  Marked  by  a  fine  original  story, 
good  photography,  and  clever  titling, 
this  picture  concerns  a  young  married 
couple  and  particularly  the  wife  whose 
efforts  to  wheedle  her  husband  into 
buying  her  a  fur  coat  have  been  un- 
successful. A  girl  friend  suggests  she  re- 
sort to  a  little  trickery,  put  her  hus- 
band on  the  spot  so,  in  an  effort  to 
square  himself,  he'll  buy  the  coat. 

The  husband  is  persuaded  into  hiring 
a  secretary  on  the  pretense  he  looks 
overworked.  Wife's  girl  friend  poses  as 
secretary,  lands  the  job.  According  to 

•  Continued  on  Page  476 
458 


Othello 

EACLE  BOLD 

"Bernhard  Tango 


Franklin  Gothic 

Bernhard  Gothic  Heavy 

Cheltenham  Bold 

Stymie  Bold 
4 

LeRoy  Lettering  Guide 


S^l^anesi  L^ftalic 
Cloister  Jilacfe 


•  Popular  type  faces  frequently  used  in  title  composition. 


ChooHng.  a  t^pe  for  y.our  TITLES 


I 


jAST  month  we  mentioned  that 
backgrounds  for  titles  should  be  chosen 
that  harmonize  with  subject  matter  of 
the  film.  Now  we  go  a  step  further  and 
state  that  even  the  style  of  lettering 
should  be  in  keeping  with  the  subject 
matter.  If  theme  of  film  is  powerful  or 
dramatic,  titles  should  likewise  be  bold 
and  substantial.  If  the  film  covers  the 
subject  of  flowers,  or  children  or  small 
animals  for  example,  a  more  delicate, 
even  slightly  "arty"  title  style  may  be 
followed.  A  successful  film  definitely 
aflects  emotions  and  reactions  with  its 
theme,  and  this  result  can  be  made  more 
effective  by  supporting  it  with  proper 
title  style. 

Inasmuch  as  an  extensive  titling  job 
should,  and  usually  does,  involve  the 
use  of  printer's  type,  our  discussion  will 
treat  the  various  popular  type  faces 
available  for  this  purpose.  That  type 
f?ces  possess  personalities  that  have  very 
definite  influences  upon  people  is  sup- 
ported by  typographers  who  use  type 
to  attract  reader  attention.  A  message 
set  in  the  right  type  face  goes  far  to 
condition  receptiveness  of  the  reader. 
And  so  it  is  with  titles. 

Little  wonder,  then,  that  the  movie 
amateur  who  wants  his  film  to  be  com- 
plete in  every  respect  will  be  particular 
in  choosing  a  style  of  type  for  his  titles 


B 


that  not  only  will  conform  with,  but 
compliment  theme  of  his  film. 

Some  film  subjects  suggest  no  cer- 
tain mood,  were  not  intended  to;  and 
these,  of  course,  may  be  titled  with  any 
of  the  simple  type  styles — even  with 
typewriter  type.  But  the  amateur  with 
a  film  that  carries  a  strong  message  or 
theme  will  pay  particular  attention  to 
type  selection  and,  where  titles  are  to 
be  made  by  some  commercial  labora- 
tory, will  insist  upon  selecting  the  type 
face  himself. 

Suppose  the  film  in  question  is  a  doc- 
umentary about  tl-ains.  Observe  the 
chart  of  titling  type  on  this  page. 
Which  type  would  you  choose  for  the 
main  title?  For  the  sub-titles?  Trains 
usually  suggest  power,  massiveness.  Ob- 
viously, then,  we  should  choose  for  the 
main  title  a  face  like  Othello,  and 
Franklin  or  Bernhard  gothic  for  the 
sub-titles. 

Contrast  these  and  other  type  faces 
in  groups  i  and  2  with  those  in  group 
3.  The  latter  are  more  appropriate  for 
the  lead  titles  of  films  on  the  subject 
of  trees,  flowers  or  any  other  subject 
of  a  graceful  or  delicate  nature.  These 
type  faces  never  should  be  used  for  sub- 
titles. Their  delicate  lines  and  fine  serifs 


W 


U 


H  M 


would  be  lost  in  reproduction  and  pro- 
jection, rendering  titles  composed  of 
them  hard  to  read  from  the  screen.  This 
is  especially  true  for  8mm.  films. 

Previously  in  these  pages  we  haye 
stated  how  important  it  is  to  have  sub- 
or  descriptive-titles  as  simple  as  possible 
— plain  backgrounds  with  the  plainest 
of  type  used  in  composing  the  title 
text.  The  most  acceptable  type  styles 
for  sub-titles  are  those  known  as  sans- 
serif — without  serifs.  Serifs  are  the  fine 
lines  that  decorate  a  type  character  at 
top  or  bottom.  So  fine  are  they,  they  be- 
come lost  in  the  finished  title  because  of 
inadequate  optics  used  by  most  ama- 
teurs in  title  making,  and  this  results 
in  confusion  for  the  spectator  trying 
to  read  the  title  as  it  appears  on  the 
screen. 

Of  all  of  the  type  faces  in  group  1 
which  are  particularly  adapted  to  sub- 
titles, only  one — Cheltenham  Bold — is 
a  serif  type;  but  the  serifs  are  bolder 
than  many  others  and  this  type  photo- 
graphs very  well.  In  fact  it  is  used  ex- 
clusively by  one  news-reel  company  in 
all  its  titles. 

The  skilled  hand  letterer  who  prints 
his  own  titles  with  lettering  pen  and 
•  Continued  on  Page  47  j 


459 


Frame  enlargements  from  16mm.  screen  test  of  Jean  Brooks,  RKO  player,  showing  type  of  scenes  desired  in  screen-test  reel 


isniiii.  sn  nm 

aiding,  talent  search  .  .  . 


0. 


'NLY  yesterday  young  men  and 
girls,  aspiring  to  movie  stardom,  came 
to  Hollywood  to  work  in  service  sta- 
tions and  drive-in  sandwitch  stands 
close  by  the  studios,  hoping  to  be  dis- 
covered by  the  searching  eye  of  a  stu- 
dio talent  scout.  And  many  were.  Today 
its  a  different  picture.  There's  a  short- 
age of  players  in  Hollywood — both  male 
and  female.  Studios  are  scouring  the 
hmterlands  for  potential  Lamours,  Gra- 
bles,  Paynes  and  Gables. 

Playing  an  important  role  in  this  tal- 
ent search  is  the  i6mm.  camera.  Quick 
screen  tests  are  filmed  in  i6mm.  Koda- 
chrome,  screened  the  next  day  in  the 
studio's  projection  room.  But  more  im- 
portant: Studios  now  are  actually  en- 
couraging movie  aspirants  in  distant 
cities  to  submit  their  own  screen  tests 
on  1 6mm.  film  for  the  studio's  con- 
sideration. 

In  the  van  of  this  revolutionary 
movement  is  RKO  studios,  whose  chief 
talent  executive,  Ben  Piazza,  recently 
announced  that  his  company  is  encour- 
aging every  talented  young  man  and 
woman  with  screen  aspirations  to  have  a 
screen  test  made  of  themselves  with  a 
1 6mm.  camera  and  submit  it  to  RKO. 
To  date,  RKO  has  placed  under  con- 


tract, more  than  twenty  new  youthful 
players  on  the  strength  of  i6mm.  film 
tests.  Not  all  of  these  tests,  of  course, 
were  amateur-made.  Most  of  them  were 
filmed  on  the  studio  lot  with  a  i6mm. 
Bolex  by  Jack  Bentley,  RKO's  screen 
test  cinematographer.  But  the  amateur- 
made  tests  received  equal  consideration, 
and  where  the  material  was  not  ample, 
in  judgment  of  the  talent  office,  the 
film  was  returned  with  suggestions  for 
shooting  additional  footage.  Where  re- 
screening  of  the  expanded  test  reel  in- 
dicated promising  talent,  the  hopeful 
aspirant  was  summoned  to  Hollywood 
for  personal  interviews  and  additional 
tests. 

All  this  has  resulted  in  RKO 
setting  up  a  definite  formula  which 
the  amateur  may  follow  in  shooting  a 
screen  test.  "Most  important,"  states 
Mr.  Piazza,  "Is  the  necessity  of  shoot- 
ing most  of  the  footage  in  closeups  and 
to  allow  enough  footage  to  each  shot 
that  will  enable  us  to  study  the  person 
on  the  screen  withou-t  having  to  pro- 
ject the  film  over  and  over  again."  Ob- 
viously, the  usual  editing  technique  of 
holding  each  scene  to  a  minimum  of 
footage  cannot  hold  true  in  a  screen 
test. 


The  accompanying  illustrations  are 
frame  enlargements  from  a  i6mm.  test 
made  of  Jean  Brooks,  on  the  strength 
of  which  Miss  Brooks  was  signed  to 
a  long  term  contract  by  RKO.  These 
pictures  illustrate  the  type  of  shots 
called  for  in  RKO's  screen  test  formula. 
If  there's  a  potential  actor  or  actress 
in  your  family  or  among  your  circle  of 
friends — a  boy  or  girl  genuinely  photo- 
genic who  has  had  some  dramatic  ex- 
perience, amateur  or  professional  — 
here's  your  opportunity  to  help  them 
along  toward  a  screen  career  by  making 
a  screen  test  they  can  submit  to  Ben 
Piazza  at  RKO  studios  in  Hollywood. 

First  thing  to  remember  is  that  all 
screen  tests  must  be  on  i6mm.  Koda- 
chrome.  No  black  and  white  or  8mm. 
films  will  do.  And  where  possible,  they 
should  be  filmed  at  24  frames  per  sec- 
ond, although  this  is  not  absolutely  es- 
sential. No  exaggerated  makeup  should 
be  used  on  your  subject — just  the  usual 
face  powder  and  cheek  and  lip  rouge. 
All  scenes  should  be  shot  out  of  doors 
under  natural  light  and,  as  much  as 
possible,  in  shade  where  there  is  ample 
overhead  or  reflected  light.  This  makes 
for  more  naturalness  in  subject's  expres- 
sion, eliminates  wrinkles  and  squint 
otherwise  caused  by  strong  sunlight. 

The  whole  routine  of  the  test  should 
be  carefully  planned  in  advance,  al- 
though it  is  unnecessary  to  make  all 
shots  in  the  exact  order  in  which  they 
will  appear  in  the  finally  edited  picture. 
If  the  aspirant  is  a  skilled  rider,  roper, 
top-dancer,  skier,  swimmer,  etc.,  he  or 
she  also  should  be  filmed  in  such  action 
with  the  camera  placed  to  compose  the 
shot  to  the  best  advantage  to  subject. 

The  opening  shot  of  the  series  should 
•  Continued  on  Page  472 


460 


HOME  MOVIES  FOR  DECEMBER 


•  George  Oliver  Smith  didn't  mount  his 
16mm.  Filmo  on  that  sturdy  studio  cam- 
era crane  for  a  gag,  but  in  order  to  ob- 
tain a  special  traveling  camera  effect  in 
one  of  his  16mm.  productions.  Here 
Smith  appraises  the  scene  with  critical 
eye  before  starting  his  camera. 


[E'S  in  the  army  now.  But  when 
it's  all  over  and  he's  free  again  to  take 
up  where  he  left  off,  George  Oliver 
Smith  will  be  an  active,  top-ranking 
cinematographer.  This  is  a  prediction,  of 
course,  but  it's  backed  up  by  substantial 
facts.  A  man  who  has  lived  and  breathed 
movies  ever  since  he  was  eleven  years 
old,  who  has  produced  no  less  than  six- 
teen industrial  and  public  relations 
films  during  that  time,  and  who  was 
among  the  first  to  enlist  in  the  Signal 
Corps  training  program  for  cinematog- 
r;'phers  and  graduate  with  top  honors — 
well,  it's  not  difficult  to  predict  the 
future  for  such  a  man. 

The  name  of  George  Oliver  Smith  is 
well  known  among  movie  amateurs  and 
among  business  men  from  the  Governor 
on  down  in  the  state  of  Idaho.  George 
was  born  in  Weiser,  Idaho,  March  ii, 
J 92 1.  About  the  time  of  his  tenth  birth- 
day he  discovered  he  could  project  a 
still  picture  on  a  wall  with  the  aid  of 
an  ordinary  magnifying  glass  mounted 
on  a  small  box  and  an  electric  light 
bulb  for  illumination.  Thus  began  his 
interest  in  projected  pictures.  By  the 
following  Christmas,  his  letter  to  Santa 
asked  for  a  single  item — a  cheap  i6mm. 
movie  projector  which  reposed  in  a  local 
store  window,  "marked  down"  to  $3.98. 

"My  folks  thought  I'd  get  tired  of  it 
in  a  month,"  said  Smith,  "But  about  the 
time  the  two  little  cartoon  films  that 
came  with  it  .were  worn  out,  I  had 
learned  about  the  many  free  loan  films 
that  were  available.  The  only  obstacle 
was  that  my  projector  would  not  take 
the  400  foot  reels.  I  soon  fixed  that, 
however,  with  a  pair  of  home-made  ex- 
tension arms  for  the  take-up  and  sup- 
ply reels." 

Smith  lived  on  a  farm  at  the  time. 
He  rigged  up  a  "little  theatre"  in  a  long 
shed  where  he  and  a  pal  conducted 
shows  for  the  neighborhood,  and  for 
schools  and  clubs.  If  the  films  were  ob- 
tained free,  they  charged  r'>  admission. 
Where  they  had  to  pay  a  lental  for 
films,  a  nominal  charge  was  made  for 
admission.  As  the  hobby  of  amateur 
movies  grew,  neighbors  who  had  ac- 
quired cine  cameras  brought  their  films 
to  Smith  to  be  projected  along  with  the 


HIS  UMUU 
mnU  PUD  OFF! 


B  y 


WAR 


free  advertising  films.  This  proved  an- 
other milestone,  for  Smith  had  not  yet 
begun  to  think  in  terms  of  making  his 
own  movies.  He  saw  only  the  glamour 
of  the  exhibitor.  In  due  time  he  pur- 
chased an  8mm.  camera  and  projector 
— all  from  proceeds  received  in  staging 
barnyard  movie  shows. 

That  Smith  proved  a  "natural"  as  a 
cine  photographer  is  proved  by  the  fact 
that  almost  at  once  he  was  shooting 
movies  for  money.  Local  business  men 
often  had  been  spectators  at  his  movie 
shows,  so  they  readily  went  along  with 
Smith  when  he  suggested  shooting  1 5 
to  20  feet  of  them  or  of  their  business 
to  be  spliced  into  an  advertising  reel 
that  Smith  projected  along  with  other 
films  on   the  little   theatre  programs. 


N  C        A        R        I  N 

This  service  cost  but  $  i  for  each  mer- 
chant, and  there  were  plenty  of  takers 
for  this  inexpensive  advertising.  In  due 
time,  more  far-seeing  business  men  pre- 
vailed upon  Smith  to  produce  full  reel 
pictures  of  their  business  or  service,  and 
thus  Smith  had  come  of  age  as  a  busi- 
ness film  producer — and  at  the  ripe  old 
age  of  fifteen  years! 

That  fall,  Smith  was  commissioned  to 
make  a  trip  around  the  state  and  film 
all  the  candidates  of  one  political  party 
up  for  election.  Smith's  neighbors  be- 
gan employing  him  to  make  movies  of 
weddings  and  their  children's  birthday 
parties.  Requests  for  putting  on  bene- 
fit shows  became  too  numerous  to  han- 
dle. In  fact,  by  now,  his  producing  in- 
•  Continued  on  Page  4-4 


461 


•  Pictures  show  MCM's  John  Arnold  (checkered  coat)  demonstrating  to  rookie  cinematographers  proper  method  of  carrying  tripod- 
mounted  camera;  difference  between  over-and  under-exposed  negatives;  and  care  of  lens  equipment. 


HEN  Uncle  Sam  needed  a 
couple  hundred  cinematographers  in  a 
hurry,  where  did  he  look  for  them? 
You  guessed  it — among  amateur  movie 
makers.  Here  was  a  vast  army  of  capable 
cine  cameraists  with  a  wealth  of  experi- 
ence behind  them.  Uncle  Sam's  Signal 
Corps  was  faced  with  the  monumental 
task  of  either  training  raw  recruits  in 
the  art  of  cinematography  or  conscript- 
ing most  of  Hollywood's  studio  camera- 
men. To  do  the  latter  would  seriously 
impair  the  government's  program  for 
morale  and  training  films  and,  of  course, 
to  train  men  with  no  photographic  ex- 
perience whatever  would  require  more 
time  than  available.  Speed  is  essential  in 
this  war.  Obviously,  the  already  trained 


W 


amateur  was  the  logical  answer  to  the 
problem. 

With  cooperation  of  the  Research 
Council  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences,  the  Signal  Corps 
formulated  a  training  program  that  in- 
cluded some  of  Hollywood's  ace  direc- 
tors of  photography  as  instructors.  Ad- 
vanced movie  amateurs  were  invited  to 
enlist  in  the  Signal  Corps  Reserve  and 
receive  this  coveted  professional  train- 
ing. To  date,  some  300  of  the  best  am- 
ateur and  semi-professional  cine  pho- 
tographers have  been  accepted  for 
schooling  and,  within  the  sound  stages 
of  Hollywood  studios  evenings  and  sun- 
days,  the  cream  of  America's  movie  am- 
ateurs have  received  instruction  in  the 
fundamentals  of  profes- 
sional cinematography 
under  tutelage  of  such 
important  cameramen 
and  technicians  as  John 
Arnold,  chief  cinematog- 


•  Potential  Signal  Corps 
cameramen  were  given 
thorough  training  in  use 
of  all  makes  of  standard 
35mm.  cameras.  Here 
Arnold  coaches  student 
in  art  of  quickly  focusing 
lens  of  Mitchell  camera. 


rapher  for  MGM,  Alvin  WyckofiF,  and 
Emery  Huse,  motion  picture  film  expert 
of  Eastman  Kodak  Company. 

And  who  were  the  lucky  movie  ama- 
teurs chosen  by  the  Signal  Corps?  Well 
some  of  them  are  pretty  well  known  to 
readers  of  this  magazine.  There's  Dudley 
Porter,  producer  of  the  8mm.  Movie  of 
the  Month  for  April  1941.  Porter  was  a 
student  in  class  i  guided  by  that  old 
m.aster  of  motion  picture  photography, 
John  Arnold.  He  graduated  with  top 
honors  and  is  now  receiving  secondary 
training  at  Camp  Crowder,  Missouri. 

Harry  Downard  of  Redding,  Califor- 
nia, is  another.  Downard,  long  a  keen 
student  of  cinematography,  has  been  a 
fiequent  contributor  to.  Home  Movies, 
topped  the  marks  of  all  his  fellow  stu- 
dents, and  was  chosen  by  John  Arnold 
to  remain  in  Hollywood  to  act  as  assist- 
ant instructor  as  long  as  the  amateur- 
tiaining  sessions  shall  continue. 

David  Bradley,  known  for  his  many 
multi-reel  i6mm.  productions  such  as 
Peer  Gynt,  Oliver  Twist,  and  others  is 
now  schooling,  getting  consistently 
high  marks  in  his  weekly  exams.  Brad- 
ley's sensational  lo-reel  (4000  foot) 
1 6mm.  production  of  Oliver  Twist  was 
the  Movie  of  the  Month  for  May  1942. 

Then  there's  Arthur  Faure,  a  Los  An- 
geles amateur  whose  fine  r6mm.  Koda- 
chrome  work  was  described  in  the  Octo- 
ber 1942  issue.  Faure  has  completed 
his  schooling  and  is  also  receiving  his 
•  Continued  on  Page  473 

462 


HOME  MOVIES  FOR  DECEMBER 


•  In  this  picture,  Richard  L. 
Cassell  is  adjusting  critical  fo- 
cus prior  to  filming  a  scene  in 
his  prize-winning  16mm.  pic- 
ture, Warriors  of  Another 
World.  The  two  gadgets  be- 
tween tilt-top  and  camera  were 
constructed  by  Cassell  to  im- 
prove rigidity  of  camera  and 
accuracy  of  focusing. 


ARRIORS  of  Another  World, 
documentary  of  fighting  insects  and 
1942  Lloyd  Bacon  Trophy  winner,  is 
the  result  of  a  filming  adventure  in  the 
realm  of  natural  science.  How  did  I 
happen  to  film  this  picture?  What 
gave  me  the  inspiration?  These  questions 
have  been  asked  many  times.  Frankly, 
along  with  amateur  movies,  natural  sci- 
ence has  been  a  kindred  hobby.  Hence 
the  desire  to  combine  the  two  in  one  su- 
preme effort.  And  supreme  it  was,  too! 
The  entire  picture  was  filmed  nights 
between  the  hours  of  10  p.  m.  and  2 
a.  m.  when  sensible  people — not  camera 
daft — were  reposing  in  the  arms  of  Mor- 
pheus. 

I  hadn't  progressed  very  far  before 
I  was  gulping  in  mild  desperation  at  a 
bite  too  big  to  swallow.  Many  obstacles 
at  once  presented  themselves  and,  hav- 
ing no  previous  experience  in  cinemi- 
crography,  considerable  footage  was 
wasted  in  experimentation.  I  had  wit- 
nessed many  pictures — still  and  moving 
— on  natural  science  subjects  which,  to 
my  way  of  thinking,  left  much  to  be 
desired.  It  seemed  other  photographers 
had  been  content  to  record  nature  fact- 
ually. They  overlooked  the  tremendous 
possibilities  in  presenting  nature  dra- 
n^atically.  This  then,  was  my  cue:  to 
film  a  number  of  interesting  insects  in 
natural  action  and  to  present  them  dra- 
matically. To  dramatize  such  subjects, 
it  followed  they  must  be  filmed  in  ac- 
tion— unusual  action.  So  I  decided  to 
film  only  insects  with  fighting  instincts 
and  to  picture  them  in  fighting  action. 

The  characters  chosen  for  my  film 
were  field  ants,  an  insect  known  as  the 
ant  lion,  orb-weaving  spider,  field  spi- 
der, black  widow  spider,  scorpions,  and 
praying  mantis.  In  subordinate  and  less 
fortunate  roles  were  moths,  butterflies, 
a  blue  burglar  wasp,  and  a  Jerusalem 
cricket,  each  of  which  succumbed  to 
the  preying  or  pugnacious  instincts  of 
the  previously  mentioned  insects.  House- 
flies,  bees  and  ants  had  small  roles  in 
a  brief  prologue  opening  my  picture,  the 
purpose  of  which  is  to  demonstrate  on 
the  motion  picture  screen  the  tremen- 
dous strength  and  other  attributes  of 
the  average  insect.  A  lone  ant  was  pic- 
tured carrying  a  matchstick  with  ap- 


HOW  I  mm  m 

PRIZE-WIHIIG  FILM 


By         D  R 


RICHARD 


CASSELL 


parent  ease — a  load  several  times  its 
own  weight.  A  closeup  of  the  com- 
pound eye  of  the  ordinary  fly  was  em- 
phasized in  a  montage  showing  the  mul- 
ti-faceted eye-surface.  This  shot  was 
made  after  shooting  several  feet  of  film 
of  a  girl  poised  with  a  fly-swatter  held 
as  though  about  to  pounce  upon  a  fly — 
just  as  the  fly  would  see  it. 

The  sprocket  holes  were  carefully 
trimmed  from  the  footage  and  the  film 
cut  into  strips  of  equal  length  and  ce- 
mented side  by  side  on  a  panel  of  clear 
glass.  Then  a  panel  of  opal  glass  was 
placed  on  the  other  side,  making  a  sand- 
witch,  and  the  composite  panel  illumi- 
nated from  the  rear.  Training  my  cam- 
era upon  this,  the  closeup  of  "what  a 
fly  sees"  was  obtained. 

Most  of  the  subjects  were  collected 
in  the  desert  wastes  of  Imperial  Valley, 
two  hundred  miles  south  of  Los  Angeles. 
I  made  several  trips  in  search  of  them 
and  because  I  had  not  yet  learned  how 
to  keep  my  diminuitive  actors  healthy 
in  captivity,  especially  during  the  long, 
hot  trip  back  to  my  home,  I  had  to  re- 
trace my  steps  in  attempts  to  bring 
them  back  alive.  I  soon  discovered  I 
could  put  my  specimens  to  sleep  until 
time  for  their  appearance  before  the 
camera,  inducing  suspended  animation 
by  placing  them  in  a  thermos  bottle 


half  filled  with  cracked  ice. 

Many  of  my  subjects  were  anesthe- 
tized with  a  whiff  of  chloroform.  Fool- 
ing around  with  these  bugs  I  learned 
much  about  gas  decontamination  and 
resuscitation.  Many  an  insect  was 
"brought  to"  by  gently  vibrating  its 
abdomen,  thereby  ventilating  the  spher- 
icals  therein.  Anesthetizied  insects  al- 
ways photograph  well  because  what  re- 
flexes remain  active  cause  just  enough 
movement  to  be  picked  up  normally  by 
the  camera.  Normal  movement  of  some 
insects  is  too  rapid  to  be  photographed 
successfully  at  any  camera  speed. 

There  were  four  phases  in  the  actual 
production  of  this  film:  photography, 
with  its  myriad  of  unexpected  prob- 
lems; editing,  with  its  all-engulfing  ex- 
actitude and  the  tedious  splicing  to 
camouflage  the  fact  it  was  a  splice;  con- 
struction of  miniature  sets  and  its  at- 
tendant camera  angle  problem ;  and  fi- 
nally, testing  and  selecting  insects 
which  were  sufficiently  photogenic  as 
well  as  willing  actors. 

As  a  performer,  due  credit  must  be 
given  the  black  widow  spider.  Pour  on 
all  the  light — and  heat — you  want, 
point  your  camera  toward  all  of  her 
eight  eyes,  and  gives  her  a  playmate  (or 
victim)  ten  times  her  size  and  watch 
•  Continued  on  Page  4-0 


461 


HOME  MOVIES  FOR  DECEMBER 


•  Extensive  advance 
planning,  careful  re- 
hearsing of  cast,  and 
adequate  equipment 
coupled  with  a  good 
story — will  net  a  suc- 
cessful scenario  pic- 
ture. Here  a  cast,  cos- 
tumed with  care,  en- 
act a  scene  on  a  home- 
made set  adequately 
lighted  with  the  usual 
amateur  fitiodlight 
equipment. 


filming,  gour  ^irH 

mum 


movie 


STANLEY 


ANDREWS 


H 


[AVING  guided  our  class  of  be- 
ginning movie  amateurs  through  eleven 
sessions  devoted  to  the  essentials  of  good 
amateur  movie  making,  we  shall  apply 
our  final  session  to  the  subject  of  pro- 
ducing a  scenarized  picture.  A  scenar- 
ized  picture  is  one  that  is  filmed  from 
a  prepared  script.  It  may  be  a  preten- 
tious dramatic  effort,  a  documentary,  or 
a  simple  playlet  built  around  family  in- 
cidents with  members  of  the  family 
making  up  the  cast. 

Assuming  the  filmer  is  fully  quali- 
fied to  undertake  filming  a  scenario  by 
virtue  of  extensive  previous  camera  ex- 
perience, two  things  are  important  be- 
fore undertaking  a  production:  a  ca- 
pable cast  and  an  acceptable  story.  The 
most  satisfactory  length  for  a  story  film 


is  400  feet  1 6mm.  or  its  equivalent  in 
8mm.  Therefore,  it  is  important  to 
choose  a  story  which  can  be  told  in  ap- 
proximately 100  to  150  scenes  or  shots. 
Upon  the  cast  will  depend  the  success 
of  a  story,  good  or  bad,  for  unless  they 
deliver  to  the  best  of  their  individual 
abilities,  the  picture  will  suffer.  It  is 
important,  therefore,  to  place  the  leads 
or  most  important  parts  in  hands  of  the 
most  capable  persons  regardless  of  fam- 
ily connections  or  politics.  And  believe 
me,  having  to  favor  certain  relatives  or 
friends  in  casting  a  home  movie  play  is 
often  one  of  the  most  difficult  obstacles 
to  surmount. 

Much  of  the  cast's  acting  "success  de- 
pends upon  capable  direction  by  the 
producer.  If  each  actor  is  thoroughly  re- 


hearsed and  given  definfiite  lines  to 
speak  in  every  scene  in  which  he  is  sup- 
posed to  have  something  to  say,  his 
action  will  be  nearer  professional  than 
when  left  to  his  own  devices. 

Another  thing:  don't  undertake  at 
first  a  picture  requiring  a  large  cast. 
If  this  is  done,  considerable  difficulty 
is  sure  to  follow  in  getting  everyone 
together  on  the  days  shooting  is  to  take 
place.  And  if  one  important  player  fails 
to  show  up,  shooting  simply  cannot  go 
on;  for  unlike  with  a  stage  play,  an- 
other player  cannot  carry  on  in  his 
place  before  the  camera.  It  is  import- 
ant therefore,  not  only  to  have  a  very 
definite  commitment  from  each  of  the 
cast  to  be  on  hand  for  every  scene  in 
which  they  are  to  take  part,  but  to  stick 
with  the  production  until  the  very  last 
scene  is  made.  Another  thing  that  must 
be  considered  too,  at  this  time,  is  cast- 
ing men  who  may  be  called  up  in  the 
draft  before  the  picture  is  completed. 
This  has  happened  several  times  recently 
with  result  that  production  had  to  be 
abandoned. 

One  thing  the  amateur  must  strive 
for  at  all  times  is  to  avoid  anything 
that  will  appear  corny  on  the  screen — 
overacting,  bad  makeup,  silly  situations. 
Remember,  people  are  accustomed  to 
seeing  good  dramatic  pictures  and  fine 
acting  performances  on  the  theatre 
screen — in  sound.  The  amateur  cannot 
hope  to  match  the  Hollywood  product 
and  should  not  attempt  to  ape  it.  There 
is  a  happy  medium  which  the  amateur 
can  follow  and  follow  successfully.  We 
cite  as  examples  some  of  the  amateur 
films  which  have  been  reviewed  in 
Home  Movies  and  credited  as  excellent 
pictures,  namely:  Fledglings,  A  Pain  In 
the  Night,  Cock  and  Bull  Stories,  Lati- 
tude 26,  Father's  Time,  Rita  of  Rocky 
Ranch,  Murder  by  Magic,  Mister  X,  and 
Well  I'll  Be! — all  excellently  acted, 
directed  and  produced. 

And  where  should  one  look  for  good 
stories  to  film?  Well,  sometimes  that  is 
a  task.  The  nine  films  just  mentioned 
are  from  original  stories,  conceived  and 
written  by  the  producers  or  the  produc- 
tion staff.  Good  ideas  abound  in  every 
day  events  about  your  home,  in  news- 
paper headlines,  and  in  magazines  and 
books.  Amateurs  are  usually  free  to  use 
any  published  material  for  home  photo- 
plays as  long  as  the  completed  film  is 
not  to  be  put  to  commercial  use. 

Those  who  decide  to  write  their  own 
dramatic  stor>'  will,  no  doubt,  put  in 
some  time  studying  theatrical  motion 
pictures.  In  this  way  the  method  of  pre- 
•  Continued  on  Page  470 


464 


•  Frame  enlargements  from  the  8mm.  Kodachrome  Movie  of  the  Month,  "Mister  X",  produced  by  Norman  Brown,  Clendale,  Calif. 


|0  shafts  from  Klieg  lights 
pierced  the  skies  when  "Mister  X"  was 
given  its  world  premiere  Hollywood- 
fsshion  in  a  cozy  little  Glendale  home 
theatre.  But  all  the  rest  of  the  Holly- 
wood fanfare  that  customarily  accom- 
panies a  world  premiere  was  there — a 
galaxy  of  sumptuously  dressed  notables, 
the  microphone  in  the  lobby  into  which 
guests  spoke  briefly  as  they  passed  into 
the  theatre,  the  usual  speeches  and  all 
the  rest.  Thus,  a  little  differently,  did 
"Mister  X"  make  its  debut — the  film 
that  has  since  been  selected  by  the  edi- 
tors as  the  Movie  of  the  Month.  Thus, 
also,  did  Norman  Brown,  producer  of 
the  film  establish  himself  as  a  master 
showman  as  well  as  a  successful  amateur 
film  producer. 

Sharing  the  spotlight  with  Brown  in 
his  noteworthy  production  is  his  wife, 
Alice,  who  wrote  the  clever  story  and 
continuity.  The  picture,  in  8mm.  Koda- 
chrome, runs  200  feet  and  is  augment- 
ed by  a  well  chosen  selection  of  musi- 
cal recordings.  The  story  concerns  a 
man,  Mister  X,  and  a  mysterious  char- 
acter played,  incidentally,  by  Norman 
Brown,  the  producer.  And  here  we  must 


mm  oi  the  MoiTH 


add  that  Mrs.  Brown  also  assisted  with 
the  production,  taking  a  turn  at  the 
Camera  whenever  her  husband  was 
called  upon  to  carry  on  with  his  role 
before  it.  Which  was  often.  Brown  ap- 
pears to  be  a  spy  or  perhaps  a  detective 
in  the  opening  scenes.  He's  loung- 
ing nonchalantly  against  a  lamppost 
when  the  Daylight  Limited  pulls  into 
Glendale  station.  Mister  X  alights,  looks 
furtively  about,  and  scrams  to  the  near- 
est taxicab.  Brown  hops  in  his  car  and 
follows. 

At  a  mid-town  intersection,  Mister 


•  Below — (left)  Guests  arriving  for 
premiere  of  "Mister  X"  say  a  few 
words  at  the  microphone,  Holly- 
wood fashion,  (right)  Part  of  the  se- 
lect audience  within  the  Krull  little 
home  theatre  in  Glendale,  where 
"Mister  X"  was  premiered. 


X  alights  from  his  taxi  and  continues 
his  journey  afoot.  Brown  leaves  his  car 
and  continues  trailing  his  man  several 
paces  behind.  Seeking  to  elude  his  mys- 
terious pursuer.  Mister  X  ducks  in- 
to a  movie.  But  Brown  stakes  out  near- 
by, takes  up  the  chase  again  when  Mis- 
ter X  emerges  hours  later  from  the 
theatre. 

By  this  time  Mister  X  is  pretty  wor- 
ried. In  an  effort  to  elude  Brown,  he 
ducks  into  a  department  store  and  at- 
tempts to  conceal  himself  behind  coun- 
ters and  clothing  racks.  But  persistent 
Brown  is  right  behind  him,  although 
having  lost  the  trail  momentarily.  This 
is  soon  regained,  however,  when  Mister 
X  gets  to  his  feet  to  get  the  lay  of  the 
land,  finds  he's  come  up  between  a  cus- 
tomer and  a  saleslady  demonstrating  a 
•  Continued  on  Page  475 


PACE  466 


HOME  MOVIES  POR  DECEMBER 


THE  EXPERIMeniL 


Wall  Scieen  Adaptor 

A  wall-type,  roll  up  movie  screen  can 
easily  be  adapted  to  hang  on  one  of  the 
regular  photoflood  light  standards  there- 
by converting  it  to  a  tripod  type  screen. 

A  piece  of  wood,  2  inches  wide  and 
I  inch  thick  is  cut  the  same  length  as 
the  screen  case.  In  the  center  of  this 
strip  a  hole  is  bored  through  the  edge 
to  fit  over  the  adjustable  sliding  rod 
of  the  stand.  It  should  be  a  fairly  snug 
fit.  A  washer  is  soldered  to  the  light 
stand  about  2^  inches  from  the  top  to 
prevent  the  wood  piece  from  slipping 
down.  Two  strong  screw  hooks  are  used 
at  each  end  of  the  wood  strip  in  the 
same  position  as  the  two  eyelets  on  the 
screen  case. 

In  use,  the  screen  case  is  hooked  over 
the  screw  hooks,  the  screen  pulled 
down,  and  the  height  regulated  by  ad- 
justing the  light  stand  rod. — George 
Carlson,  Chicago,  III. 

Kodachiome  Fades 

A  very  simple  method  of  fading-in 
and  fading-out  lead  and  end  titles  when 
using  Kodachrome  may  be  made  by  us- 
ing regular  Kodachrome  film  with  pho- 
tofloods  employing  the  blue  corrective 
filter  for  artificial  light.  Since  regular 
Kodachrome  under  artificial  light  has 
a  Weston  rating  of  3  it  is  necessary  to 
open  up  the  lens  about  four  stops  larger 
than  under  the  same  lighting  conditions 


PASS  'EM  ALONG! 

Those  ideas  for  gadgets,  tricks  or 
shortcuts  in  filming,  titling,  editing 
or  processing  home  movies  —  pass 
them  on  to  fellow  cinebugs  through 
these  cohimns.  For  each  idea  pub- 
lished, you'll  receive  two  new  pro- 
jection reels.  Extraordinary  ideas 
will  bring  you  a  roll  of  film. 

Write  description  of  ,your  idea 
plainly  and  when  possible  accom- 
pany it  with  a  photo,  sketch  or 
diagram.  There's  no  limit  on  num- 
ber of  ideas  you  may  submit.  Ideas 
not  immediately  published  will  be 
held  for  possible  future  publication 
unless  they  duplicate  ideas  previous- 
If  submitted. 

Important:  Be  sure  to  mention 
whether  your  cine  equipment  is 
8mm.  or  16mm.  so  we  may  prompt- 
ly forward  award  adaptable  to  your 
use. 


when  using  Type  A  Kodachrome.  This 
being  true,  by  starting  the  camera  with 
the  lens  stopped  down  to  F  16  and  open- 
ing up  to  the  correct  exposure,  which 
in  my  case  was  a  little  over  F  3.5,  a  very 
excellent  fade-in  can  be  obtained.  To 
fr.de-out,  reverse  the  process,  or  close 
down  to  F  16. — C.  B.  Robertson,  Baton 
Rouge,  La. 

Rewind  Brake 

Few  commercially  made  film  rewinds 
are  equipped  with  brakes  for  applying 
tension  on  either  or  both  reels  while  re- 
winding filfn.  A  simple  braking  device 
may  be  made  for  most  all  makes  of  re- 
winds from  a  piece  of  metal,  a  strip  of 
felt  and  a  small  spring. 

Most  practical  perhaps  is  to  use  a 
metal  picture  hanger  for  the  purpose, 
slitting  it  lengthwise  which  provides 
two  pieces — one  for  each  rewind.  The 
hanger  is  already  curved  to  fit  over  the 
rewind   spindle,   saving   one  operation 


Ci/T  IN  TWO  HERE 


DRILL  HOLE 


BR^KE 


A  PPL  y  PIECE 
OF  FELT 


otherwise  necessary  where  a  straight 
metal  strip  is  used. 

Straighten  out  the  other  curved  end 
of  the  hanger  and  drill  a  small  hole  in- 
to which  insert  the  end  of  a  small  spring 
or  stout  rubber  band.  Attach  other  end 
of  spring  or  rubber  band  to  editing 
board  base  with  a  staple  or  screw  hook. 

Line  the  curved  surface  of  hook  with 
small  piece  of  felt.  The  hook  is  then 
fitted  over  the  rewind  spindle  close  to 
the  rewind  housing,  furnishing  tension 
to  brake  the  speed  of  the  rewind  when 
revolving  with  loaded  reel.  Brake  may 
he  released  by  un-hooking  the  hanger 
fr^m  spindle.  With  some  rewinds,  brake 
must  be  applied  to  end  of  spindle  after 
reel  is  placed  upon  it. — H.  E.  Moore,  Los 
Angeles,  Calif. 


More  Light 

Replacing  the  regular  500-watt  lamp 
with  a  more  powerful  750  watt  lamp 
in  the  Keystone  R-8  projector  will  in- 
crease picture  brilliance  about  30%.  To 
install  larger  lamp,  loosen  set  screw 
and  move  back  lamp  reflector  flush 
v/ith  lamp  housing.  Next  remove  lamp 
socket,  then  lengthen  the  slots  in  socket 
base  by  '/z  inch.  Bend  top  of  air  con- 
veyor to  accommodate  increased  size  of 
750  watt  lamp. 

Replace  lamp  socket  and  screw  in 
750  watt  lamp.  Move  socket  toward 
rear  of  lamp  house  as  far  as  it  will  go 
and  tighten  set  screws.  Make  sure  lamp 
is  accurately  centered. 

I  have  used  the  larger  lamp  in  contin- 
uous projection  for  intervals  of  4  hours, 
except  for  stops  for  changing  reels,  etc., 
without  overheating  projector  or  dam- 
aging film. — John  Schuler,  Scranton,  Pa. 

Portable  Editor 

Illustrated  is  a  portable  editing  case 
in  which  is  combined  all  the  usual 
items ;  splicer,  rewinds,  film  viewer,  and 
space  for  cans  of  film.  It  folds  into  a 
box  when  not  in  use,  protecting  the 
accessories,  yet  making  it  possible  to 
carry  this  equipment  in  as  small  space 
as  possible.  Inside  dimensions  of  the  kit 
are  but  6-in.  x  6-in.  x  8-in. 

The  sides  are  of  Ys"  plywood  and  are 
attached  to  a  plywood  bottom  by 
hinges.  The  Y/'  plywood  top  is  rigidly 
fastened  to  the  back.  When  opened,  the 
sides  lie  flat  to  form  the  complete  edit- 
ing board,  as  shown. 

Attached  to  the  bottom  are  the  film 
viewer  and  water  and  cement  bottles. 
Rewinds  are  mounted  on  either  side  and 
in  such  a  manner  they  fold  against  the 
sides,  the  spindles  protruding  through 
holes  as  shown.  Splicer  is  mounted  on 
front  panel.  Electric  cord  for  illuminat- 
ed viewer  is  wound  around  the  viewer 
and  I  also  provide  a  battery-powered 
light  in  case  outfit  is  to  be  used  in  the 


HOME  MOVIES  FOR  DECEMBER 


PACE  467 


CHE    ffORUHflP        ,„,i,  ^ 


field  where  regular  house  current  is  not     FoCUSillQf  Aid 

available. — /.  Marvin  Blair,  Hollywood, 
Calif. 


SLiaHTLY  MORE 

THAN 
CIRCUMFERENCE 
OF  LENS  MOUNT 


IRIS  CONTROL  IN 
PLACE  ON  CnMERB 


Iris  Fader 

An  excellent  iris  control  to  enable 
making  fade-ins  or  fade-outs  with 
8mm.  and  i6mm.  cameras  can  be  readily 
made  from  a  dime-store  saw  blade.  The 
only  tools  necessary  are  a  pair  of  pliers, 
a  file  and  a  hacksaw. 

From  the  hacksaw  blade,  cut  a  strip 
3/16  inch  wide  and  5  to  6  inches  long, 
depending  upon  the  size  of  the  lens 
mount.  File  the  piece  to  shape  and  bend 
to  fit  the  lens  mount,  as  shown  in 
sketch.  Slip  a  piece  of  rubber  tubing  or 
adhesive  tape  over  the  curved  portion 
to  assure  a  firm  grip  and  prevent 
scratching  lens  mount. 

In  use,  simply  press  at  the  point 
shown  and  slip  over  the  lens.  Remove 
it  in  the  same  way.  The  spring  tension 
will  hold  it  securely  in  place. 

This  gadget  is  far  superior  to  any 
available  commercially,  because  it  can 
be  attached  or  removed  instantaneous- 
ly, will  not  damage  the  lens  mounting, 
yet  provides  a  firm,  slip-proof  grip. — 
H.  C.  Godbe,  Salt  Lake  City,  Utah. 

Reel  Storage  Cases 

The  large  round  Quaker  Oats  cartons 
make  excellent  storage  cases  for  8mm. 
reels.  The  whole  box  will  accommodate 
17  reels  and  cans.  Cut  to  one-half  size, 
it  will  hold  8  reels  and  cans.  Be  sure  to 
remove  lid  carefully;  and  for  a  finish, 
cover  the  box  and  lid  with  pebble- 
grained  or  other  ornamental  paper. — 
Ralph  Barton,  Paducah,  Kentucky. 


Here  is  a  simple  projector  focusing 
aid  I  have  worked  out.  All  Eastman 
film  is  returned  from  the  processing 
station  with  a  white  leader,  and  to  aid 
in  quick  focusing  for  projection  I 
scratch  a  thin  line  down  the  center 
the  length  of  this  white  leader  on  the 
emulsion  side,  using  a  ruler  and  razor 
blade,  being  careful  not  to  cut  too 
deeply  into  the  film.  By  focusing  the 
projector  lens  on  this  thin  line  assures 
the  following  pictures  being  in  sharp  fo- 
cus on  the  screen.  Of  course,  this  line 
can  also  be  drawn  on  all  leaders  on  the 
emulsion  side  of  the  film. — C.  B.  Rob- 
ertson, Baton  Rouge,  La. 


GLftSS 
SCREEN 


) 

MIRROR 

SIbE  VIEW 


WING  NOTS 


SLOTS  PROVIDE 
f^OR  ALIGNINC, 
eOlTOR  WITH 
ffrwiNDS 


MIRRORS 
fOCUSl-D  ON  GROUND 
GLR55  5CR£SN 


Filmviewer  Improvement 

Illustration  shows  method  of  con- 
verting the  F-R  Action  Editor  into  a 
projection  model,  providing  for  a  pro- 
jected image  instead  of  a  viewed  image 
through  the  customary  magnifying 
glass. 

First  step  is  to  remove  lens  and 
mounting  bracket  from  the  editor.  Next 
mount  editor  on  its  side  on  a  plywood 
upright  supported  by  a  wooden  base  as 
shown.  From  plywood  or  metal,  con- 
struct the  framework  shown  in  sketch 
which  supports  the  projection  lens, 
nnrrors,  and  ground  glass  screen.  Lens 
from  your  projector  may  be  used  and 
this  may  be  mounted  in  a  spring  clip 
which  will  make  its  removal  and  re- 
placement easy. 

The  two  mirrors  should  be  adjusted 
to  focus  on  the  ground-glass  screen  and 


^kottcut^  contri" 
butedby,  Cinebug.^ 


the  distance  between  mirrors  will  de- 
termine size  of  screen.  Side  position  of 
F-R  Action  Editor  permits  threading 
film  in  usual  manner  yet  obtain  pro- 
jected image  right  side  up. — C.  M.  De 
Lauder,  Holliday's  Cove,  West  Va. 

Scene  Index 

Movie  shots  may  be  marked  and  iden- 
tified readily  with  the  aid  of  simple  de- 
vice sketched  below.  It  consists  of  a 
numbered  dial  which  fits  into  a  loose- 
leaf  notebook,  pages  of  which  serve  as 
records  of  scene  footage,  exposure  and 
other  data. 

From  a  sheet  of  heavy  white  paper 
or  cardboard,  cut  a  piece  the  size  of  the 
notebook  leaf.  Punch  holes  along  one 
edge  to  correspond  to  the  notebook 
clips.  Print  figures  i  to  5  (or  as  many 
as  desired)  on  one  side,  and  continue 
with  the  numerals  on  opposite  side.  Fig- 
ures cut  from  a  calendar  page  and  past- 
ed on  the  card  serve  admirably.  Next 
make  two  arrows  from  black  paper  or 
cardboard  and  fasten  one  on  either  side 
of  the  card  with  an  eyelet  or  brass  pa- 
per clip. 

To  use  gadget,  hold  in  front  of  cam- 
era with  arrow  pointed  to  proper  nu- 
meral to  identify  scene,  and  shoot  3  or 
4  frames.  Other  data  may  be  written 
in  note  book.  When  film  is  processed, 
each  scene  will  be  numbered  according 
to  its  proper  position  in  the  script. — 
John  J.  Lloyd,  Long  Beach,  Calif. 


PACE  468 


HOME  MOVIES  FOR  DECEMBER 


M 


ome  movie 


Where    to    rent   or   buy   8mm.   and    16mm.  films 


lO  augment  your  home  movie  shows,  make  use  of  the  fine  libraries 
of  rental  films,  both  sound  and  silent,  maintained  by  your  photo  dealer  for 
owners  of  8mm.  and  i6mm.  projectors.  Rental  rates  are  surprisingly  low  and 
new  films  are  added  at  regular  intervals.  Dealers  listed  below  will  gladly  assist 
with  suggestions  for  one  reel  to  full  evening  programs: 


CALIFORNIA 

HOLLYWOOD 

Bailey  Film  Service 
1651  Cosmo  Street 

Bell  &  Howell  Filmosound  Library 
71i  N.  La  Brea  Ave. 

Castle's  Inc. 
1529  Vine  Street 

Morgan  Camera  Shop 
£262  Sunset  Blvd. 

LOS  ANGELES 

Films  Incorporated 
1709  W.  8th  Street 

SAN  FRANCISCO 

Bell  &  Howell  Filmosound  Library 
Photo  &  Sound.  Inc. 
153  Kearny  St. 

Robert  Crawford  Studios 
126  Post  Street 
Telephone:  YUkon  1234 

SANTA  MONICA 

Stewart   Photo  Company 
1257  Third  Street 

CONNECTICUTT 

WATERBURY 

Maiestic  Pictures 
P.  O.  Box  1125 


DISTRICT  OF  COLUMBIA 

WASHINGTON 

Bell  &  Howell  Filmosound  Library 
1221  G  St..  N.  W. 


ILLINOIS 


8ERWYN 


Colonial  Camera  Shop 
6906  Windsor  Ave. 

CHICAGO 

Bell  &  Howell  Filmosound  Library 
1825  Larchmont  Ave. 

Films  Incorporated 
64  E.  Lake  Street 

General  Camera  Company 
2308  West  Devon  Avenue 


INDIANA 


INDIANAPOLIS 

W.  Stuart  Bussey 

17  East  St.  Joseph  St. 


IOWA 


MASON  CITY 


Decker  Bros. 

209  No.  Federal  Ave. 


KANSAS 


WICHITA 


Jeff's  Camera  Shop 
139  N.  Broadway 


Lewis  Film  Exchange 
216  East  1st  St. 


MASSACHUSETTS 


BOSTON 


Don  Elder's  Film  Library 
739  Boylston  St..  Dept.  HM. 

Frank  Lane  and  Company 
5  Little  Building 


MICHIGAN 


DETROIT 


Detroit  Camera  Shop 
325  State  Street 


NEW  YORK 


ALBANY 

Albany  Camera  Shop  Rental  Library 
204  Washington  Avenue 

KENMORE 

Nixon  Camera  &  Photo  Supply  Co. 
2811  Delaware  Ave. 

NEW  YORK 

Bell  &  Howell  Filmosound  Library 
30  Rockefeller  Plaza 

Films.  Incorporated 
330  W.  42nd  St. 

Walter  O.  Gutlohn.  Inc. 
25  West  4Sth  St. 

Haber  &  Fink.  Inc. 
12-14  Warren  St. 

Medo  Photo  Supply 
15  West  47th  St. 

National  Cinema  Service 
69  Dey  Street 


OHIO 


CINCINNATI 


Ralph  V.  Haile  &  Assoc. 
215  Walnut  St. 


DAYTON 


Dayton  Film  (8-16)  Rental  Libraries 
2227  Hepburn  Ave. 


OREGON 


PORTLAND 


Films  Incorporated 
314  S.  W.  9th  Avenue 

TEXAS 


DALLAS 

National  Ideal  Pictures.  Inc. 
2024  Main  St. 


WEST  VIRGINIA 


CHARLESTON 

Elmer  B.  Simpson 
816  W.  Virginia  St. 


Cattle  d^elea^e^ 


Prepared  especially  for  holiday  home 
entertainment  is  Castle  Films'  latest 
animated  cartoon  release,  "Christmas 
Cartoon,"  built  upon  a  gay,  human  in- 
terest story.  A  brother  and  sister,  dis- 
appointed at  finding  no  presents  await- 
ing them  Christmas  morning  are  made 
happy  after  a  rollicking  home  movie 
show  in  which  they  see  good  old  St. 
Nick  and  familiar  fairy  tale  characters 
fiolicking  in  a  gay  animated  cartoon. 
The  show  concluded,  room  lights  are 
flashed  on  and  all  the  presents  they  were 
expecting  are  awaiting  them  under  the 
Christmas  tree. 

This  special  Christm.as  treat  may  be 


•  Scene  from  "Christmas  Cartoon." 

had  in  either  8mm.  or  i6mm.  Other 
Castle  Films  yuletide  subjects  include 
"Merry  Christmas"  and  "Christmas 
Time  In  Toyland." 

Announced  simultaneously  with  the 
above  holiday  film  is  Castles'  "Football 
Thrills  of  1942"  featuring  closeup  ac- 
tion of  the  season's  major  gridiron 
games  as  gathered  by  the  telephoto 
lenses  of  newsreel  cameras.  This  film 
shows  the  great  moments  of  the  games 
you  saw  or  of  those  you  wished  you 
could  have  seen  from  that  seat  on  the 
fifty-yard  line  you  failed  to  get. 

Games  from  which  action  is  included 


•  Football  Thrills  of  1942. 

in  this  reel,  subject  to  possible  last  min- 
ute changes,  are:  Army-Navy,  Harvard- 
Yale,  Boston  CoUege-Fordham,  Notre 
Dame-Wisconsin,  Ohio  State-Michigan, 
Duke-Georgia  Tech.,  Northwestern-  111- 


HOME  MOVIES  FOR  DECEMBER 


PACE  469 


inois,  Princeton-Dartmouth  and  Minne- 
sota-Iowa. 

Far  surpassing  the  demand  of  last 
year's  "News  Parade"  is  Castle's  "News 
Parade  of  1942"  which  pictures  the 
year's  historic  events  in  one  reel  of  film. 
Auth  ntic,  filmed  under  fire,  are  such 
episodes  as  raid  on  Dieppe,  fight  for 
Stal.'ngrad,  Midway  victory,  battle  of 
the  Atlantic  and  other  key  events. 

Notable  is  the  policy  of  Castle  films 
to  offer  their  popular  subjects  at  a  cost 
no  greater  than  that  of  unexposed  film. 
All  subjects  are  available  from  leading 
photo  dealers  in  five  standard  sizes  from 
$1.75  to  $17.50  for  the  sound  version. 


Housekeeper's  Daughter 

A  sparkling  comedy,  which  was  a 
boxoffice  "hit"  all  over  the  country,  has 
just  been  released  in  i6mm.  sound  by 
Post  Pictures  Corporation,  723  Seventh 
Ave.,  New  York  City.  Entitled  "The 
Housekeeper's  Daughter,"  and  starring 
lovely,  dark-tressed  Joan  Bennett  and 
suave  Adolphe  Menjou;  it  is  the  story  of 
the  glamorous  daughter  of  a  Park  Ave. 
housekeeper  who  meets  and  finally  mar- 
ries the  son  of  her  mother's  employer. 

Other  Hal  Roach  features  available 
from  Post  Pictures  in  i6mm.  sound  in- 
clude "There  Goes  My  Heart"  featuring 
Fredric  March  and  Virginia  Bruce; 
"Zenobia"  (An  Elephant  Never  For- 
gets) with  Oliver  Hardy,  Harry  Lang- 
don  and  Billie  Burke.  "Topper  Takes  a 
Trip"  with  Roland  Young  and  Con- 
stance Bennett;  and  "Captain  Fury" 
starring  Brian  Aherne  and  Victor  Mc- 
Laglen. 


Sound  Advice 

"Sound  Advice"  is  the  timely  title  of 
a  new  and  interesting  booklet  that  tells 
how  you  can  have  sound  movies  with 
any  8mm.  or  i6mm.  projector.  Written 
by  Kenneth  Carlson,  prominent  sound 
engineer,  it  covers  such  subjects  as  stro- 
boscopes, how  to  build  dual  turntables, 
how  to  synchronize  projector  with 
turntable,  how  to  make  a  sound  movie, 
how  to  connect  a  record  player  to  ra- 
dio for  amplification,  sound  movies 
without  a  recorder,  and  a  shooting 
script  for  a  sound  movie  that  does  not 
require  a  recorder. 

"Sound  Advice"  is  available  direct 
from  Sound  Advice,  Box  19,  Burnet 
Woods  Station,  Cincinnati,  Ohio.  Price 
is  $1.00  postpaid. 


G-E  Meter  Manual 

Just  off  the  press  is  a  new  97-page 
Exposure-meter  Manual  published  by 
the  General  Electric  Company.  A  com- 
panion to  the  G-E  Photo  Data  Book,  the 
Manual  deals  with  scientific  aspects  of 
photography  related  to  exposure.  Com- 
plete, easy  to  read,  the  Manual  is  sold 
through  photo  dealers  at  $1.00  per 
copy. 


MAKE  YOUR  TRANSITIONS 

CINi  FADER 


Thousands  of  movie  makers  have  testified 
to  the  efficienq'  of  this  precision-built,  auto- 
matic "trickster".  64  varieties  of  fades  and 
vignettes  can  be  made  with  the  BOOL  on 
any  movie  camera.  Perfectly  timed  lap- 
dissolves  when  used  on  movie  cameras 
with  rewinding  mechanism.  Built  in 
Switzerland,  of  stainless  steel,  with  pre- 
cision clock-work  mechanism  to  last 
for  years.  You  simply  fasten  it  to  your 
camera  lens  by  means  of  adjustable  set- 
screws— any  camera  lens  for  8mm  and 
1 6mm— wind  the  mechanism  and  press 


the  button-the  BOOL  CINi  FADER 
does  the  rest.  Booklet  with  BOOL  gives 
complete  instructions  for  all  transitions. 
So  simple,  anyone  can  do  it. 

Still  priced  at  $18.75  including 
Excise  Tax,  while  they  last.  At  your 
dealer's,  or  order  from  us  direct. 
Fully  guaranteed. 


15$  Ult  44th  Street,  Ntw  Yofk,  H.Y.,  We»t  Coost  Represenlotive:  Fronk  A.  Emmet  Co.,  2707  W,  Pico  St.,  loj  Angefej,  Colifornio 


V 


8MM. 


KODACHROME 
TRAVEL  FILMS 


16MM. 


SUPERB  FILMS  IN   GLORIOUS  COLOR 
"WAIKIKl  HULA  GIRLS."  filmed  In  Hawaii.  Tou 

will  be  delighted.  Color  Sample  for  10c  In  coin,  and 
complete  lists.  A  4  ft.  Smm.  or  5  ft.  16mm.  color 
strip  tor  projection,  $1,00.  We  offer  hundreds  of  fine 
film  subjects  for  grown-ups:  for  children;  color, 
black  and  white,  silent  or  sound.  Not  to  be  confused 
with  cheap  toy  films.  Castle,  Official.  Hollywood 
Films. 

PARTY  RECORDS — Something  new  in  adult  en- 
tertainment. 3c  stamp  brings  catalogues, 

RECORDINGS  MADE  TO  ORDER— Music  and 
Sound  Effects.  Any  Recording  Duplicated.  33-1/3  or 
78  R.P.M. 

MISCELLANEOUS 

BAIA  precision  All-Metal  8mm.  Film  Slitter..$2.75 
FOTOFADE  DYE  for  malting  Chemical  Fades...  1.25 

FOTOFADE  WIPE-OFF  TAPE,  per  roll  60 

CINETINTS,  Set  6  Colors  with  Instructions   3.25 

DuPONT  VISCOSE  SPONGES,  each  35 

HOME  MOVIES.   Back  Issues,   1937-38-39  15 

Not  all  months  in  any  year,  1940-41-42  30 

TITLE  DEVELOPER,  tubes,  each  make  16  oz...  .15 
HTPO  FIXING  BATH,  tubes,  each  make  16  oz.  .15 
CAMERA  SPOOLS  WITH  CANS— Eacll 

Double  8   _...50c   Univex   Single  8  15c 

EXTRA  CANS,  Double  8mm  and  Single  8  size.... 10c 

100  ft.  and  50  ft.   16mm  15c 

400    ft.     size  „...50c 

MOVIE  TITLES  ARE  EASY  TO  MAKE 
CINE-KODAK  POSITIVE  TITLE  FILM— Unscored. 
Speed  6  in.  Photoflood  Light.  Laboratory  Packed. 

Dbl.  8—33  ft.  65c;  100  ft.  $1.50;  400  ft.  $5.50; 

Sgl.  8—33  ft.  45c;  100  ft.  $1.00;  400  ft.  $3.50; 

16mm.  100  ft.  1.25;  400  ft.  $5.00. 

100  ft.  and  50  ft.  16mm  15c 

Clear.  Purplehaze,  Yellow,  Bed,  Amber.  Special  Blue 

Title   Instructions   Free   witli   Film  Orders 

Cash,   Check  or  M.   O.   for  quick  service. 
Add  25c  for  Special  Delivery.  Overpayments  refunded 
or  credited.  No  stamps,  please. 

Phone   Lincoln  1207 

W.  STUART  BUSSEY  FILM  LAB. 

17  E.  St.  JOSEPH  ST.         INDIANAPOLIS,  IND. 


AT  LAST 

Practical  Sound  Movies  With 
ANY  Size  Film! 


Revealed  By  a  Sound  Engineer 
In  This  Amazing  Book  .  .  . 


SOUND 
ADVICE 


A  Book  Explaining 
How  You  Can  Make 
Sound  Movies  WITH 
WITHOUT 
Recorder. 


ONLY  $1.00 

Going  Fast! — Better  Order  NOW! 

"Sound  Advice" 

Box  19,  Burnet  Woods  Station 
CINCINNATI,  OHIO 


PACE  470 


HOME  MOVIES  FOR  DECEMBER 


POST  PItTlRES 


PRESENTS 


THRILLS 

For  Your 
Audience  .  . 


WESTERN  FEATURETTES 

In  16mm.  Sound 

"Corral"  their  interest  with  these  excit- 
ing miniature  "westerns,"  packed  with 
action  and  adventure.  They'll  "pep  up" 
your  movie  program  .  .  .  make  new 
friends  for  you. 

Among  the  titles  are: 

The  Arizona  Cyclone     Pals  of  the  Prairie 
Carrying   the    Mall       Sundown  Trail 
The   Lone   Rider  Pals    of    the  West 

The  Desert  Man  West    of    the  Law 

Each — 2  reels,  approxinnately  20  min.,  $45. 

Other  entertaining   POST  shorts 

"Flip  the  Frog"  Cartoons 
"Port  O'  Call" 

"Poetic  Gems"  by  Edgar  Guest 
"Mickey  McGuire"  Comedies 


Full 

Fea 


JerijHAL  ROACH 


Ail-star  casts,  lavish  settings,  interest- 
ing plots,  excellent  direction  .  .  .  have 
all  gone  into  these  splendid  films.  Every 
one  of  them  a  box-office  "hit,"  they  are 
now  available  to  you  in  i6mm.  sound 
for  your  movie  screen. 


The  Housekeeper's  Daughter 

ui/h  Joan  Bennett  ^  Adolphe  Menjou 
Captain  Fury 

uith  Brian  Aherne  d  Victor  McLaglen 
There  Goes  My  Heart 

uith  Fredric  March  and  Virginia  Bruce 

Topper  Takes  a  Trip 

ti  ith  Constance  Bennett  ^  Roland  Young 
ZENOBIA 

(An  Elephant  Never  Forgets) 
uith  Oliier  Hardy  and  Harry  Langdon 


Many  Other  Outstanding  Title!  to  be 
Released  Soon 

Order  From  Your  Film  Library  Today! 

Send  for  FREE  Catalog  Listing  All  Film^ 

POST  PICTURES  CORP 

I Dept.  14 
723  Seventh  Ave.        New  York,  N.  Y. 


1 


IMMtUIAlE      UtLIVLKY      HJH  CMKISIMAs 
Make   Titles   in   Red,   Blue,   Yellow,   Green,  Black, 
White  on  Photographic  Scenic  Background!. 

"A  to  Z"  Color  Title  Outfit  _$6.50 

Write  tsr  your   FREE  Test  Kit  today. 
Ask  for  A-to-2  at  Your  Dealer  or  Send  $6.50  Direct 

A-to-Z  MOVIE  ACCESSORIES 
175  Fifth  Ave.  Dept.  H  44  New  York  City 


Jilming.  y.our  fir^t  Scenario 


•  Continued  from  Page  464 

senting  a  story  on  the  screen  can  be  ab- 
sorbed much  quicker  than  from  read- 
ing dozens  of  books  or  magazine  ar- 
ticles on  the  subject.  Before  we  can  be- 
gin a  story  we  must  have  a  plot.  And 
this  plot  must  develop  logically  to  a 
forceful  climax  in  the  closing  sequence 
of  our  film.  If  it  does  not,  then  we 
haven't  an  acceptable  screen  story. 

Many  good  ideas  are  presented  fact- 
ually that,  with  a  little  more  imagina- 
tion applied,  could  become  outstanding 
amateur  pictures.  By  adding  one  or  two 
twists,  the  plot  may  be  given  real  dra- 
matic punch.  I  have  in  mind  a  story 
by  one  amateur.  As  he  had  written  it, 
ic  involved  a  poor  couple.  The  wife 
had  just  received  a  rare  old  clock,  gift 
from  an  aged  grandmother,  recently  de- 
ceased. Although,  unknown  to  her,  it 
was  of  immense  value.  She  put  the  clock 
aside,  valuing  it  only  as  a  keepsake.  The 
husband,  ashamed  of  their  increasing 
poverty,  attempts  to  dispose  of  the  clock 
for  a  few  dollars.  However,  when  one 
money  lender  offers  more  than  he  ex- 
pected for  it,  he  decides  to  shop  around 
for  still  a  better  price.  The  way  this 
filmer  had  written  his  story,  the  man 
eventually  is  offered  $5000.00  for  the 
clock  and  he  and  his  wife  are  made  hap- 
py. However,  there  is  no  suspense  in  the 
story.  It  is  merely  a  factual  account 
of  the  poor  couple's  transition  from 
poverty  to  riches. 

It  was  suggested  that  the  story  be 
changed  in  the  last  sequences  so  that 
some  misfortune  occur  to  the  man, 
temporarily  at  least,  to  deprive  him  of 


the  clock  for  which  he  had  been  of- 
fered so  much  money.  The  story  was 
changed  so  the  man  loses  the  clock  un- 
beknown to  his  wife.  She  had  declined 
all  suggestions  to  sell  it  because  it  was 
a  last  gift  from  her  dear  departed  grand- 
mother. She  would  not  part  with  it  for 
any  price. 

However,  the  good  husband,  observ- 
ing his  wife  doing  without  food  and 
clothing,  steals  out  of  the  house  with 
the  clock,  makes  his  calls  among  the 
money  lenders  and  then  when  offered 
the  astounding  price  of  S  5000.00,  re- 
turns home  with  the  clock  and  to  tell 
the  good  news  to  his  wife  and  obtain 
her  consent  to  sell  it.  The  clock  disap- 
pears during  the  night,  and  the  manner 
in  which  it  is  retrieved  coupled  with 
the  suspense  already  built  up,  made  a 
fine  dramatic  picture. 

Last,  but  not  least  important,  is  the 
need  of  adequate  tools  to  work  with 
in  producing  a  photoplay.  For  unless 
there  are  plenty  of  photofloods  and  re- 
flectors, good  indoor  scenes  will  not  re- 
sult. If  sunlight  reflectors  are  not  used 
on  exterior  shots,  photography  will  suf- 
fer in  quality.  Best  bet  is  not  to  under- 
tj-ke  an  extensive  production  alone,  but 
to  enlist  assistance  of  brother  movie 
amateurs  and  friends.  Give  them  a  part 
in  the  film,  too,  and  a  smoother,  more 
successful  production  will  result.  And 
don't  overlook  the  importance  of  giving 
every  person  connected  with  the  pro- 
duction ample  screen  credit  in  the  cred- 
it titles  of  your  film.  Everyone  likes  to 
see  their  name  in  print  —  esp)ecially 
when  its  on  the  motion  picture  screen. 


J4ow  3  made  prize  ^Um 


•  •  • 


•  Continued  from  Page  465 

the  fireworks!  She's  a  miniature  demon! 

Tlie  most  photogenic,  perhaps,  is  the 
Praying  Mantis — so  named  because  of 
the  kneeling  posture  he  assumes.  His  odd 
angular  form,  vicious  appearance  in  ul- 
tra-closeups,  easy  taming,  and  absolute 
safety  in  handling,  makes  him  the  ideal 
subject  for  cinsmicrography.  Among 
the  fighting  insects  he  is  death  personi- 
fied. He  is  somewhat  light  sensitive,  but 
a  little  coaxing  under  subdued  lights  en- 
abled me  to  obtain  fine  action  closeups 
of  him  devouring  butterflies  and  moths. 

The  battle  between  the  scorpions  was 
one  of  the  dullest  and  most  tedious  to 
film.  The  scorpion  is  strictly  a  noctur- 
nal insect.  With  lights  off,  action  be- 
tween the  two  battlers  was  fast  and 


furious.  But  just  as  soon  as  the  photo- 
floods  were  snapped  on,  action  stopped 
abruptly.  It  was  only  by  persevering 
over  a  period  of  two  months,  shooting 
flashes  of  these  insects  at  8  frames  per 
second,  that  a  staggering  pile  of  i6mm. 
footage  was  accumulated  from  which 
action  strips,  perhaps  only  a  few  inches 
in  length  would  be  cut  and  spliced  to- 
gether to  produce  a  sequence  of  fighting 
action  of  reasonable  length. 

Filming  action  of  the  other  battlers: 
Spider  versus  fly;  Ant  Lion  versus  ant; 
Black  Widow  versus  Jerusalem  Cricket; 
and  Praying  Mantis  versus  moths  and 
butterflies,  was  simply  a  matter  of  per- 
serverance  and  proper  adjustment  of 
lights  in  order  not   to  burn  subjects 


HOME  MOVIES  FOR  DECEMBER 


PACE  471 


alive.  One  of  the  first  problems  I  en- 
countered was  the  light  problem.  If  my 
photofloods  were  too  hot,  how  was  I  to 
have  enough  light  to  make  pictures? 
This  problem  was  whipped  by  changing 
lens  equipment  on  my  camera,  using  a 
combination  of  extension  tubes  with 
my  one-inch  or  two-inch  lenses.  This 
enabled  me  to  set  up  camera  farther 
away  from  subjects  and  at  the  same 
time,  move  lights  back,  too. 

The  high  degree  of  magnification  re- 
quired in  cinemicrography  made  im- 
practical the  use  of  my  regular  tripod. 
Purchase  of  a  heavy,  more  sturdy  tri- 
pod followed,  plus  a  substantial  tilt- 
head.  To  this  was  added  some  specially 
hand-made  equipment  of  my  own,  de- 
signed and  built  for  the  occasion.  There 
was  the  plastic  extension  block,  which 
may  be  seen  in  the  accompanying  pic- 
ture, and  which  served  two  purposes: 
extended  my  camera  so  tripod  legs 
would  not  be  in  the  field  of  view,  and 
absorbed  some  of  the  vibration  trans- 
mitted to  the  camera  whenever  someone 
would  move  about  the  house.  The 
slightest  vibration,  you  know,  is  highly 
magnified  on  the  film  in  cinemicrog- 
raphy. Not  all  of  the  vibration  effect 
was  eliminated  and  it  became  necessary 
to  trim  the  first  and  last  half-dozen 
frames  from  each  scene  where  vibration 
set  in  while  starting  and  stopping  the 
camera. 

Another  gadget  was  the  micrometer 
head  between  the  plastic  block  and  the 
camera.  This  I  constructed  from  various 
parts  obtained  in  my  laboratory.  It  en- 
abled me  to  make  the  minute  adjust- 
ments of  distance  between  camera  and 
the  stage  upon  which  subjects  were  to 
perform. 

The  stiffest  problem  of  all  was  edit- 
ing. No  less  than  80  percent  of  the  en- 
tire reel  is  built  upon  an  illusion.  Action 
of  the  Praying  Mantis  leaping  upon  a 
butterfly  was  filmed  over  a  period  of 
two  days —  separate  action  which  was 
carefully  spliced  together  to  appear  as 
continuous.  I  don't  mean  to  imply  that 
nature  faking  was  the  result,  but  to  the 
contrary.  I  was  obliged  to  go  to  unbe- 
liveable  lengths  in  order  to  create  what 
actually  transpires  in  insect  life.  Where 
the  insects  refused  to  perform  continu- 
ously before  the  bright  and  sometimes 
too-hot  lights,  the  action  had  to  be 
captured  piece  by  piece  and  carefully 
edited  to  appear  naturally  as  continu- 
ous action. 

Midst  the  discouraging  moments  and 
confusion  which  attended  the  making 
of  this  picture,  there  were  also  many 
laughable  moments.  One  night  two 
Scorpions  scampered  off  stage  and  dis- 
appeared. One  was  soon  captured  but 
the  other  really  lost  himself.  We  over- 
turned every  piece  of  furniture  in  the 
room,  each  moment  expecting  to  be 
stung  by  the  recalcitrant  creature.  Af- 
ter an  exhaustive  search,  we  finally  lo- 


Save 


40% 


Originally  Priced  at  $2.50 


New  "Professional  Jr."  Tripod 

Worthwhile  16mm.  filming,  whether  silent  or 
sound,  requires  a  sturdy  yet  versatile  tripod 
built  along  professional  lines.  The  new 
"PROFESSIONAL  JR."  is  built  to  precision 
standards,  weighs  but  14  lbs.  Friction  type 
head  gives  super-smooth  pan  and  tilt  action. 
"Spread-leg"  design  assures  utmost  rigidity 
and  quick,  positive  height  adjustment.  Camera 
platform  takes  EK  Cine  Special,  B&H  Filmo, 
Bolex  or  Berndt-Maurer  Cameras;  also  adapt- 
able for  35mm.  Eyemo,  DeVry,  etc.  Used  by 
the  U.  S.  Gov't,  leading  16mm.  producers  and 
newsreel  companies. 

Send  for  literature  describing  14  features  thoroughly. 

CAMERA  EQUIPMENT  CO. 


1600  Broadway 


New  York,  N.  Y. 


The   CINE  KIT    contains  a 
one  Combination  Lens  Hood 
and  Filter  Holder,  and  three 
unbreakable  Color  Filters. 
YELLOW  2X  -  RED  6X 
DAYLIGHT  FILTER 

for  converting  type  A  Kodachrome 
to  outdoor  use. 

Our  Low  Price  $pO 

Plus  lOc  for  Mailing 

Send  cash  or  money  order 

LIMITED  SUPPLY ! 

MALENA  CO. 

616  Market  St.  -  Phila..  Pa. 


PACE  472 


HOME  MOVIES  FOR  DECEMBER 


0 


"A 


E  DIT  I  NC 
REPAIR  NEEDS 


CRAIG  Senior  SPLICER 

Makes  professional  splices  eas- 
ily —  in  only  four  operations, 
and  without  wetting  Him.  Has 
built-in  cutter  and  dry  scraper. 
Guarantees  permanent  splices! 
$10.95  (Jr.  Splicers.  $3.95). 

CRAIG  Senior  Rewinds 

For  smooth,  fast,  effortless  re- 
winding. Adapt  all  standard  S 
&  16  mm  reels.    $5.00  each. 

CRAIG  Combinations 

Incorporate  Splicer  and  Re- 
winds mounted  on  board  for  ef- 
ficiency in  editine  &  repairing. 
Jr.,  $8.95:  Sr..  $21.50. 

WRITE  FOR  FOLDBR  ^ 

"CRAIG  PRODUCTS  ARE  NOW 
IN  USE  By  MANy  BRANCHES 
OF  THE  US.  ARMED  FORCES." 


CRAIG  MOVIE  SUPPLY  CO. 

lot  fftifeUs  "Sea  ttU  ~  Smn.  -Frmfetseo 


The  EMMET  Perfection  Made 


PRESIDENT   Cam-A-Cessory  Bag 


95 


^10 


Our  finest  medium  size  CINE  bag  for 
all  8mm  Movie  cameras.  Ample  space 
for  camera,  2  rolls  film,  light  meter 
and  other  equipment.  9'/2"x3"x4i/4". 
Ideal  Christmas  Gift   

AT  YOUR  DEALERS 

FRANK  A.  EMMET  CO. 

2837  W.  PICO  BLVD.  LOS  ANGELES,  CALIF. 


AT  YOUR   FAVORITE   CAMERA  STORE 

PROTECT 

Your  Slides 

with 

New  Low-Priced 

SLIDE  FILES 

Holds  100  2"x2"slides  with  numbered  index  on  cover. 
In  Brown, and  Black,  SI. 85.  De  Luxe  }-volume  Library 
Series  (illustrated)  holds  300  slides.  Ren.cyable  index. 
Includes  a  carrying  case  with  swivel  hinge  front  cover, 
complete,  S9-00.  De  Luxe  Files,  $2.25  each.  Carrying 
Case  only,  S3. 00  each.         Write  for  descriptive  circular. 

WESTERN  MOVIE  SUPPLY  CO.  254  Sutter  St.,  San  Francisco 


,C>4iJRr  rOUR 
AND  ACCESSORIES  IN  ONE 
OF  THESE  GOOD-LOOKING 

DUCKTEX  GADGET  BAGS! 

5  DAY  MONEY  BACK  GUARANTEE 
SEND  FOR  FREE  FOLDER  NO.  22 
LISTING  OTHER  GADGET  BAGS. 


cated  him  half-way  up  a  curtain  with 
his  stinging  tail  poised  threateningly. 

By  dramatizing  these  insects  in  ac- 
tion amidst  staged,  natural  surroundings 
accented  by  special  lighting  effects,  I 
believe  they  become  more  interesting 
to  the  spectator  than  when  pictured  in 


inanimate  form.  Dead  or  otherwise  in- 
animate, these  insects  appear  hideous. 
They  conjur  up  many  dreadful  things 
in  the  imagination.  But  to  see  them  in 
action  in  vivid  closeups  that  only  the 
microscopic  camera  can  record,  is  to  ex- 
perience an  unforgettable  thrill. 


t6mm.  Screen  teiti  .  .  . 


•  Continued  from  Page  460 

introduce  subject  in  a  closeup  of  head 
and  shoulders,  with  a  "slate"  bearing 
necessary  data  regarding  subject  in- 
cluded as  shown  in  the  first  photo,  top 
row,  of  Miss  Brooks.  This  "slate"  should 
carry  subjects's  name,  age,  height  and 
weight.  Allowing  sufficient  time  for 
this  data  to  be  read  from  the  screen, 
subject  should  then  lower  the  slate  to 
reveal  a  full,  head-on  closeup.  And  its 
o.k.  for  him  or  her  to  gaze  full  into  the 
camera  and  smile  if  the  urge  occurs. 
And  remember,  forget  the  practice  of 
allowing  but  five  or  ten  seconds  to  a 
shot,  as  with  regular  home  movies,  and 
give  ample  footage  to  each  take. 

At  this  point  it  is  timely  to  remind 
that  subject  should  be  pictured  as  nat- 
urally as  possible — no  gestures,  no  dra- 
matics. That  will  come  later,  at  the  stu- 
dio. To  insure  this  naturalness,  it  is  sug- 
gested that  subject  be  given  definite 
lines  to  speak  to  a  person  outside  camera 
range.  If  subject  is  a  man,  allow  him  to 
light  up  and  smoke  a  cigarette. 

After  the  initial  "identification"  shot 
the  routine  is  to  shoot  subject  in  close- 
up  as  he  or  she  turns  slowly  from  left 
to  right.  At  start  of  camera,  subject 
faces  left  with  left  profile  toward  cam- 
era. Remaining  in  this  position  about 
10  seconds,  subject  is  then  directed  to 
turn  slowly  toward  the  right  until 
right  profile  is  toward  camera  but  stop- 
ping several  seconds  in  each  position  so 
that  action  consists  of  "left  profile,  full 
face,  right  profile." 

This  routine  should  be  repeated  again, 
this  time  in  a  three-quarter  shot,  with 
camera  about  eight  feet  distant — tak- 
ing in  subject  from  waist-line  up.  And 
if  you  wish,  subject  may  change  cos- 
tume or  attire  for  this  shot.  Repeat  this 
procedure  a  second  and  third  time — 
each  time  with  subject  in  different  dress 
and  posed  against  a  different  back- 
ground. 

The  background  against  which  sub- 
ject is  to  be  pictured  is  highly  important 
to  the  success  of  a  good  test,  for  settings 
should  be  chosen  which  will  enhance 
subject  and  which  do  not  include  dis- 
tracting elements.  For  this  reason,  RKO 
now  shoots  all  of  their  i6mm.  tests  out 
of  doors  in  a  garden  spot  not  far  from 
the  studio. 

Next  should  be  added  several  three- 


quarter  shots  with  subject  facing  cam- 
era but  gazing  out  of  scene — upward, 
downward,  then  toward  camera — thus 
presenting  a  complete  study  of  the  face 
in  various  natural  movements. 

A  series  of  "study"  shots  should  fol- 
low next  and  these  may  be  medium  long 
shots  that  take  in  the  full  figure,  or 
shots  of  subject  in  some  casual  activity 
— reading  a  book  or  reposing  on  lawn 
or  beach  in  a  bathing  or  sun  suit,  for 
example. 

All  of  the  amateur's  camera  tech- 
nique should  be  brought  into  play  in 
filming  a  screen  test.  Some  shots  can  be 
made  in  full  sun,  but  for  the  most  part 
they  should  be  filmed  in  subdued  or  dif- 
fused light.  Where  possible,  reflectors 
should  be  employed  to  lighten  shadows 
or  scrims  placed  overhead  to  soften 
strong  sunlight. 

One  hundred  feet  is  good  average 
length  for  a  screen  test  although  there 
is  no  limitation  placed  on  the  footage 
by  RKO.  Some  test  reels  have  run  as 
much  as  400  feet.  However,  the  screen 
test  should  be  as  carefully  edited  as  any 
other  cine  production.  Anything  ob- 
jectionable in  subject's  action  or  photo- 
graphic quality  of  the  film  should  be 
eliminated  from  the  reel.  In  editing,  af- 
ter the  initial  introductory  shot,  the 
shots  should  be  varied.  In  other  words, 
cut  back  and  forth  from  closeups  to  me- 
dium or  three-quarter  shots.  If  there 
are  any  action  shots  of  subject  in  dance, 
riding,  diving,  or  other  routines,  these 
should  be  held  for  the  verj-  last  as  a 
sort  of  climax.  The  real  climax,  though, 
should  be  the  most  flattering  closeup 
shot  made  in  the  entire  series. 

The  aspirant — your  screen  test  sub- 
ject— definitely  should  have  some  dra- 
matic experience — high  school,  church, 
or  little  theatre,  etc. — otherwise  you 
will  be  wasting  time  in  making  and  sub- 
mitting a  test  reel  to  a  studio.  Mere 
good  looks,  wavy  hair  and  a  six-foot 
stature  mean  nothing  unless  there  are 
brains,  personality  and  an  aptitude  for 
acting  to  back  it  up.  The  same  applies  to 
girls,  except,  of  course,  they  certainly 
must  not  be  six  feet  tall! 

You,  as  cameraman,  should  know 
your  camera  angles  and  f  stops  ex- 
ceedingly well,  for  upon  the  success  of 


KLEIN  &  GOODMAN 

18    S.    10th    St..    Philodelphio.  Pa. 


HOME  MOVIES  FOR  DECEMBER 


PAGE  473 


your  photography  may  rest  the  future 
of  a  potential  screen  star.  All  test  reels 
should  be  directed  to  RKO  Studios, 
Hollywood,  California,  attention  Mr. 
Ben   Piazza — and   with   ample  postage 


included  for  their  return.  Those  resid- 
ing east  of  the  Mississippi  may  send 
tests  to  RKO's  eastern  talent  represen- 
tative, Mr.  Arthur  WiUi,  RKO  Bldg., 
Radio  City,  N.  Y. 


Now  titey.  ^re  ihooting.  33 .  .  . 


•  Continued  from  Page  462 

basic  training  prior  to  receiving  a  cam- 
era crew  assignment. 

George  Oliver  Smith,  who  has  been 
shooting  1 6mm.  movies  ever  since  he 
was  in  knee  pants  and  whose  cine  ex- 
ploits are  recorded  elsewhere  in  this 
issue,  is  another  top  ranking  student 
who  has  completed  his  course.  Still 
others  are:  Ed  Whittington,  Jacob  De 
Vries,  Leonard  Meyer,  Don  M.  Miller, 
Russell  Meyer,  Robert  Stewart  and 
Matty  Kemp  who  rated  next  to  Down- 
ard  in  final  exams.  These  are  but  a  few 
of  some  200  who  have  enlisted  in  the 
services  of  Uncle  Sam  to  become  field 
photographers  and  photo  technicians  in 
the  Signal  Corps  Reserve. 

Speaking  of  this  training  plan  and 
the  success  it  has  achieved,  chief  in- 
structor Arnold  said:  "Put  to  tests  ac- 
cording to  high  professional  standards, 
these  amateur  cine  photographers  have 
given  an  impressive  account  of  them- 
selves." We  even  suspect  that  many  of 


them  greatly  surprised  some  of  the  old 
time  professionals  with  their  technical 
knowledge. 

Schooling  consisted  of  a  six  weeks' 
course,  later  increased  to  eight,  in  which 
the  theory  of  cinematography  was 
taught  by  specialists,  like  Emery  Huse, 
for  first  half  of  the  course,  and  prac- 
tical camera  work  covered  in  the  re- 
maining weeks.  Windup  of  each  course 
was  one  or  two  days  in  the  field  actu- 
ally making  35mm.  films  with  profes- 
sional cameras  and  equipment  —  Mit- 
chells, Bell  &  Howells,  Eyemos,  etc. 
Each  class  would  go  out  on  location 
with  a  battery  of  cameras.  Each  student 
was  given  an  assignment  on  which  he 
was  to  select  his  own  camera  set-ups, 
determine  his  own  exposures  and  shoot. 
The  resultant  films  were  screened  and 
criticised  during  final  session  of  the 
class. 

The  dream  of  many  an  amateur 
movie  maker  is  someday  to  get  behind 


Movie  oi  the  Month 


•  Each  month  the  editors  of  HOME 
MOVIES  select  the  best  picture  sent  in 
for  analysis  and  designate  it  "The  Movie 
of  the  Month."  This  movie  is  given  a 
detailed  review  and  a  special  leader  is 
awarded  the  maker. 

This  award  does  not  affect  the  eligi- 
bility of  such  films  for  entry  in  the  an- 
nual HOME  MOVIES  CONTEST.  They 
are  automatically  entered  for  rejudging 
with  those  films  submiUed  especially  for 
the  annual  contest.  Films  awarded  the 
honor  of  MOVIE  OF  THE  MONTH  dur- 
ing the  past  12  months  are: 

1942 

JANUARY:  "Latitude  26,"  produced 
by  Leo  Caloia,  Los  Angeles,  Calif.  A 
16mm  picture,  400  feet  in  length. 

FEBRUARY:  "The  Story  Yosemite 
Tells,"  produced  by  George  L.  Rankin, 
San  Francisco,  Calif.  A  16mm  Koda- 
chrome  picture,  400  feet  in  length. 

MARCH:  "Snap  Happy,"  produced  by 
Ted  Ceurts,  Salt  Lake  City,  Utah.  A 
16mm  Kodachrome  production,  700  feet 
in  length. 

APRIL:  "Rita  of  Rocky  Ranch,"  pro- 
duced by  Roland  Ray,  Los  Angeles, 
Calif.  An  8mm.  picture,  400  feet  in 
length. 


MAY:  "Oliver  Twist,"  produced  by 

David  E.  Bradley,  Winnefka,  Illinois.  A 

16mm.  picture  approximately  4000 
feet  in  length. 

JUNE:  "A  Day  On  the  Western 
Front,"  produced  by  Ernest  Eroddy, 
Denver,  Colorado.  An  8mm.  Koda- 
chrome picture,  200  feet  in  length. 

JULY:  "White  Waters"  produced  by 
C.  A.  Willis,  Merced,  Calif.  A  16mm. 
Kodachrome  picture,  400  feet  in 
length. 

AUGUST:  "Madame  Hummer  At 
Home,"  produced  by  Mrs.  Warner 
Seely,  Cleveland,  Ohio.  A  16mm.  Kod- 
achrome picture,  800  feet  in  length. 

SEPTEMBER:  "Murder  By  Magic," 
produced  by  Ad-libber  Productions, 
Pasadena,  Calif.  An  8mm.  picture,  300 
feet  in  length. 

OCTOBER:  "Pottery  Making  As  a 
Hobby,"  produced  by  V.  L.  Saint,  Lyons, 
Kansas.  A  16mm.  Kodachrome  picture, 
400  feet  in  length. 

NOVEMBER:  (No  award)  . 

DECEMBER;  "Mister  X,"  produced 
by  Norman  Brown,  Clendale,  Calif.  An 
8mm.  Kodachrome  picture,  200  feet  in 
length. 


YOUR  HOLIDAY  PICTURES 


GIVE 


MORE 


PLEASURE  ON  A  .  .  . 


PROJECTION  SCREENS 

The  pictures  you  took  so  proudly  will 
make  you  prouder  yet  when  you  see  them 
on  a  Radiant  Screen.  Life-like — clear  cut 
— brilliant — they'll  bring  back  realisti- 
cally a  thousand  happy  yesterdays.  There 
is  no  substitute  for  Radiant's  long-lived 
"Hy-Flect"  glass-beaded  screen  surface — 
no  equal  to  Radiant's  exclusive  advant- 
ages in  ease  of  operation.  That's  why  so 
many  government  departments  specify 
RADIANT.  See  Radiant  Screens  at  your 
dealer's. 

Illusfrated  Folder  and  Screen 
Fabric  Sample  FREE! 
Write  for  it! 


MANUFACTURING  CORP. 

1140-6  W.  Superior  Street 
Chicago,  III. 


PAGE  474 


HOME  MOVIES  FOR  DECEMBER 


A  Buy  at  $1.75  .  .  . 

ESO-F 

■^ou  won't  believe  it  'till  you  see  it! 
Our   newest    8inm.    monochrome  film, 
rated   Weston   24-16    for   the    low   price   of   $1.75  per 
roll  .  .  .  three  rolls,  just  $4.90!  For  all  double  8mm.  cam- 
eras.* FAST  enough  for  those  late  afternoon  shots,  yet 
right  for  bright  days,  tool  Filters?  Yes.  Price  includes 
spooling,  processing  and  return  postage  .  .  .  film  ready  for 
your  projector:  PLUS  ...  our  MONOCOLOB  films.  .  .  . 
ESO-A — Fine-grain,    contrast    serai-orlhochromatic  film 
with  anti-halo  base.  Recommended  for  exteriors,  only. 
Weston  8-2.  $1.20  per  spool.  $3.20  per  three  spools. 
ESO-B — Super-orthocliromatic  film,  full  anti-halo  protec- 
tion for  use  on  exteriors  and  interiors.  Over  twice  as 
fast  as  ESO-A.  Weston  12-4.  $1.25  per  spool.  $3.45  per 
three  spools. 

ESO-C — Sepia  ortho  film,  with  full  anti-halo  base.  Pro- 
jects as  an  attractive,  warm  amber.  Excellent  supple- 
ment for  your  Kodachrorae  movies.  Weston  8-2.  $1.30 
per  spool.  $3.70  per  three  spools. 

ESO-D — "Violet  orlhn  film,  anti-halo  base.  Excellent  for 
splicing  into  your  Ivodachrome  movies.  Weston  8-2. 
$1.30  per  spool.  $3.63  per  three  spools. 

ESO-E — DuPont  super-speed  panchromatic  film,  for  dark 
exterior  and  interior  photography.  Four  times  as  "fast" 
as  ESO-B.  Weston  100-GO,  $1.90  per  spool.  $5.50  per 
three  spools. 

•  These  emulsions  available  for  single-run  8mm.  L'nivex 

cameras  also.  Write  for  prices. 
Ask  for  your  Fall  catalog  of  short  subject  films,  spooled 
films,  accessories,  and  titling  service. 

OUR  GUARANTEE:  ESO-S  PICTURES  unconditionally 
guarantee  these  8mm.  films  and  will  replace  any  film 
purchased  or  refund  the  full  purchase  price  if  you  are  not 
fully  pleased  with  your  results.  "You  MUST  be  satisfied! 
AT  YOUR  DEALERS  OR  BY  DIRECT  MAIL. 

ESO-S  PICTURES 

"Quality  ivtm  Service" 
3945  Central  Street  Kansas  City.  Missouri 


8mm.- 1 6mm. -35mm. 

KODACHROME 

OF  THE  BEAUTIFUL 

CAVERNS 
of   L  U  R  A  Y 


This  extremely  interesting  and  most  unusual  film 
will  make  a  valuable  addition  to  your  film  library. 

36  -  2x2  KODACHROME  SLIDES — t  for  $  1.00 

100  Ft.  16mm.  KODACHROIXE  P  P  10.00 
50  Ft.  lemm.  KODACHROME  0  A  6.00 
50  Ft.   8mm.  KODACHROME  S     I  6.00 

25  Ft.   8mm.  KODACHROME  T    D  3.50 

LURAY  CAVERNS,  Bx.  1  076,  Luray.  Va. 


Hollywood  Ambertint 
16MM. 

AMBERTINT  is  a  fine  grain  semi-ortho  film — carries 

a  large  latitude. 
AMBERTINT  film  derives  its  name  from  the  slight 

AMBER  tint  in  the  film — very  pleasing — and  does 

not  sUov  scratches  or  oil  marks  or  finger  marks  as 

soon  as  clear  film. 
AMBERTINT  film   gives   good   clear   pictures  with 

just  the  right  degree  of  contrast.  It  Is  the  ideal 

outdoor  film.  Has  more  speed  than  necessary  for 

most  outdoor  shots. 

100    Feet  $2.50 

50    Feet   1.50 

HOLLYWOODLAND  STUDIOS 

9320  California  Ave.  South  Gate,  Calif. 

^^TTI^aWTT^** 


M 

o 

V 

I 

E 


LARGEST  SELECTION!        LOWEST  RATES! 
Anywhere  in  U.  S.  A.    Film  catalog  FREE! 

8mm. 

1 6mm. 

S.  0.  F. 

S.  Gnvernment  Films  (Membership  FREE!) 
State  make,  model  of  projector: 

55   West  48th  Street 
New    York.    N.  Y. 


MOGULL'S 


I6MM.  KODACHROME 

"THE  ENT)"  titles:  3  for  $1.00.  With  fade-out.  50c 
each.  "Yosemite."  "Blooming  Desert"  or  "San  Fran- 
cisco"; 100  ft.  $18:  200  ft.  $36  (or  Dupes  at  rate  of 
$15  per  100).  'Yosemite  Wildflowers  ",  100  ft.  $18; 
200  ft.  $36.  etc.  "The  Canadian  Rockies  ":  400  ft. 
(Dupe).  $60.00.  KODASLIDES.  50c  each,  of  above 
subjects,  and  many  more. 

GUY  D,  HASELTON 
7936  Santa  Monica  Blvd.  Hollywood,  Calif. 


a  35mm.  motion  picture  camera  and 
make  professional  movies.  This  dream 
has  come  pretty  close  to  reality  for  the 
200  men  who  have  completed  the  Signal 
Corps'  Hollywood  studio  training.  No 
promises  are  held  out  to  these  men 
leading  them  to  believe  studio  jobs 
await  them  when  they  are  mustered  out 


of  the  army.  But  most  of  them  feel  that 
after  the  war,  the  field  of  professional 
1 6mm.  cinematography  will  have  be- 
c(<me  so  important,  few  will  have  to 
worry  about  continuing  in  their  most 
favorite  endeavor  —  making  motion 
pictures. 


J^arny^ard  movie  A  paid  o// .  .  . 


•  Continued  from  Page  461 

icrests  had  become  so  great,  he  was  ob- 
liged to  give  up  exhibiting  entirely. 

From  August  1936  and  up  until 
Smith  came  to  Los  Angeles  early  this 
year,  to  brush  up  on  cinematography  at 
the  University  of  Southern  California, 
he  has  produced  or  has  assisted  in  the 
product. on  of  sixteen  films,  among 
tliem:  The  Republican  Ticket.  The 
Happy  Farm  Women,  The  Arc  of  Let- 
tering, The  Range  Man's  Laboratory, 
Farmer's  Take  Action,  Poultry  In  Re- 
view, Story  of  Grade  "A"  Milk,  and 
Use  of  Woodworking  Tools.  When 
Smith's  endeavor  of  making  industrial 
and  publicity  films  began  to  take  on 
thj  aspect  of  big  business,  he  set  up 
the  trade  name  of  George  Oliver  PiC- 
iLircs  for  his  company  and  all  of  his  re- 
cent productions  bear  this  trade  name. 

When  Smith  is  called  in  to  produce 
.1  picture  with  his  i6mm.  camera,  he 


spends  a  great  deal  of  time  in  confer- 
ence with  the  company's  executives, 
gaining  their  viewpoints  and  thus  is  able 
to  produce  a  picture  slanted  fully  to 
their  requirements.  Before  starting  pro- 
duction on  the  picture,  "Poultry  In 
Review,"  for  the  Cooperative  Egg  As- 
sociation of  Caldwell,  Idaho,  Smith 
studied  the  Association's  monthly  mag- 
azines which  gave  him  a  thorough  in- 
sight into  the  poultry  business.  With 
this  information,  he  plotted  a  scenario 
that  began  by  dramatizing  the  old  type 
barnyard  fowl  —  mixed  breeds,  inefii 
cient  layers,  etc. — running  helter  skel- 
ter, scratching  for  food  in  manure  piles, 
etc.  Other  scenes  portrayed  habit  of 
fowls  to  nest  in  out  of  the  way  places, 
making  collection  of  eggs  hazardless  and 
inefficient. 

The  other  half  of  the  story  concerned 
the  new  modern  poultry  methods  of 


EMULSION  RATINGS  FOR  8MM  AND  16MM  FILMS 


AGFA  ANSCO 

16mm    SSS    Pan.  _  

16  Hypan.  _   

16mm  Panchromatic   

16mm  Supreme  Pan.  Necative.. 

16mm  Positive   

16mm  Plenachrome   

8mm  Twln-8  Hypan  

8mm  Filmopan  

Twin  8mm  Pan   


Twin  8mm  SSS  Pan  

Straight  8  Pan    

••DUPONT 

Regular  Pan  (Rev.)  Type  321  

Super  Pan  (Rev.)  Type  302  

Sup. -2  (N-PorBv.)  Type  301... 
Type   314   Pan    (N.-P.  or  Bev.). 

Positive  Type  600   

Sound  Becord.  Pos.  Type  601  


0  H 


G-E 


I  27  100 
I  23  I  32 

I 


EABTSfAN 

16mm  Super  XX  Pan   

16mm  Super  X  Pan  

16mm  Safety    

16mm  Sound  Pan    

16mm  Pan.  Negative  

16mm  Positive    

8mm  Super  X  Pan  


16 
I  Bt 
12  I  8  I  3 
20  I  ._.  I  12 
24  I  23  I  32 
24  I  23  I  32 
20  I  18  I  12 
29  I  27  1100 
24  I  23  I  32 
I  I 
I  I 

20  I  18  I  12 
29  I  28  1100 
26  I  2.5  I  64 

21  I  20  I  16 
12  I  ...  I  2 
17  I    9  1  6 

I  I 
I 


I  80 
I  24 
I  12 
I  40 
I  - 
I  .3 
I  24 
I  24 
I  10 
I  80 
I  24 
I 
I 

I  S 
I  80 
I  40 
I  12 
1 1/6 
I  1 


8mm  Regular  Pan.. 

Kodachrome  (8  and  16mm)  

Kodacbrome  "A"  (8  and  16mm).. 

GEVAZRT 

Super  Reversal   

Panchro   

Ortho   -    


—  1 

1100  1 

80 

125 

ino 

24  1 

23 

1  32  1 

24 

48 

32 

20  1 

18 

1  12  1 

8 

16 

12 

23  1 

21 

1  24  1 

16 

.... 

23  1 

21 

1  24  1 

16 

24 

16  1 

10 

1  5 

3 

16 

4 

23  1 

21 

1  24  1 

20 

32 

24 

18  1 

16 

1    8  1 

3 

12 

8 

18  1 

14-I    »  1 

3« 

12 

4 

18*1 

1 

21 

1  8*1 

1  1 

12 

12* 

16 

1 

23  1 

21 

1  1 
1  !4 

16 

32 

24 

20  1 

18 

1  12 

8 

16 

12 

21  1 

17 

1  16 

6 

24 

S 

I 

123  1100 
48  I  33 
24  I  16 

100  I  64 

16  I  Z 

48  I  32 

48  I  32 

16  I  12 
123  1100 

48  I  32 

I 

I 

16  I  12 

....  I  .... 

48  I  24 


Scheintr 

We<t*a 

c 

c 

v 

9 

M 

C 

M 

C 

Q 

3 

Q 

3 

H 

GEN£BA 

1 

Super  Meteorpan    

1  27 

25 

64 

40 

Super  Panchromatic   

24 

i  13 

24 

16 

Fine   Grain  Panchromatic 

1  20 

18 

12 

8 

Movetone  Ortho   

1  19 

13 

10 

3 

I 


I  I 
I 


KiN-0-un              I     I  I 

No.    1  I  18  I  _.  I  8  I 

No.    2    I  20  I  _  I  12  I  .._ 

No.   3  I  26  I  24  I  50  I  40 

No.  3  Gold  Seal  I  _  |  29  |  _  |100 

I       I  I  I 

HOIiTWOOD                  I       I  I  I 

S.  S.  Pan  I  26  I  25  I  50  I  40 

Pan    I  21  I  20  I  16  I  12 

S«ml-Ortho    _..l  18  I  12  |  8  1  2 

I       I  I  I 

UNIVEX                         1       I  I  I 

Standard    I  17  I  14  |  6  I  _ 

Ultrapan     I  20  |  18  |  12  I  « 

ritrapan   Super-Speed  !  23  |  21  |  24  |  U 

I       I  I  I 

nAjrNtACHROlIE             I        I  I  I 

Regular    I  18  I  10  j  8  1  3 

Plus     :  20  I  17  I  13  I  6 

Superpanex  No.  100  !  29  I  27  1 100  |  64 

Superpanex  No.  !4  I  23  |  21  I  24  I  16 

Colortone    !  18  |  10  |  8  I  3 


••Ratlngi  tor  last  four  Dupont  films  are  for  straight  development.  Saiings  for  reverial  depend  upon  pruccMinc 

formulaf  and  technique  employed. 
•With  filur. 


HOME  MOVIES  FOR  DECEMBER 


PAGE  475 


successful  egg  producers — men  employ- 
ing scientific  methods  of  raising  poultry 
and  eggs.  The  whole  business  from  baby 
chick  to  candling  and  packing  graded 
eggs  was  skillfully  handled. 

When  Smith  offered  his  services  to  the 
Government  as  a  cinematographer  in 
the  Signal  Corps  Reserve,  he  had  plenty 
tc  recommend  him  both  in  experience 
and  in  glowing  letters  of  recommenda- 
tion or  praise  from  those  for  whom  he 
had  produced  pictures.  He  is  only  21 


years  of  age,  but  has  the  motion  picture 
experience  of  many  men  of  50.  His  suc- 
cess is  the  result  of  strict  application 
to  a  hobby  that  began  as  with  many 
other  movie  amateurs.  A  bit  more 
humbly,  perhaps;  for  where  most  ama- 
teurs start  from  scratch  with  a  good 
camera  and  projector,  Smith  was  giving 
successful  movie  shows  in  an  old  shed 
with  a  $3.98  toy  projector.  Admittedly, 
he's  come  a  long  way  in  just  eleven 
years. 


M^ovie  a/  tlte  yHont/t  .  .  . 


•  Continued  from  Page  46s 

brassiere!  Observing  Brown,  Mister  X 
dives  into  a  dressing  room.  Brown  starts 
after  him.  As  he  opens  the  dressing 
room  door,  a  patron  steps  out,  eyeing 
him  suspiciously.  Closer  inspection 
shows  Mister  X  to  have  disappeared 
completely.  Brown  decides  to  linger 
around  a  bit. 

By  coincidence  the  department  store 
has  a  fashion  show  scheduled  for  that 
day  in  the  ladies  apparel  department 
where  Brown  has  taken  up  his  post  of 
watchful  waiting.  There  follows  a  par- 
ade of  pretty  girls  in  attractive  gowns 
and  some  displaying  lingerie.  Brown 
still  sticks  around. 

Presently  a  striking  creature  in  a  gor- 
geous fur  coat  descends  the  winding 
stairs  leading  to  the  stage,  is  introduced 
by  the  master  of  ceremonies,  and  pro- 
ceeds to  strut  before  the  patrons.  One 
woman,  caught  by  the  attractive  red 
hat  worn  by  the  fur-coated  model,  takes 
hold  of  a  danghng  tassel  to  feel  of  the 
nr.aterial.  The  chapeau  falls  to  the  floor 
revealing  the  model  to  be  Mister  X  who 
had  hoped  to  elude  his  pursuer  with  the 
feminine  disguise. 

At  this  point  Brown  enters  the  scene, 
takes  hold  of  Mister  X  and  thrusts  a 
paper  into  his  hand.  And  guess  what  it 
is — a  suvimons  in  a  divorce  action 
brought  by  X's  wife!  The  final  fadeout 
pictures  Mister  X  going  into  a  faint. 

As  soon  as  the  opening  title  of  this 
picture  is  flashed  on  the  screen,  it  is 
apparent  that  a  skilled  cine  photog- 
rapher is  behind  it  all.  Backgrounding 
the  title  is  a  scene  showing  the  feet  of 
a  man  walking  among  shadows  as 
though  trailing  someone.  The  title  "Mis- 
ter X"  fades  in  on  the  screen,  superim- 
posed over  the  scene,  and  the  same  back- 
ground continues  for  the  screen  credits. 

With  the  exception  of  one  or  two 
interior  shots,  made  with  assistance  of 
a  wide-angle  attachment  of  poor  qual- 
ity, photography  of  this  picture  is  re- 
n:arkably  good.  Much  credit  is  due 
Brown  for  the  careful  study  given  cam- 
era angles,  particularly  in  his  interior 
shots.  The  story  is  paced  well,  building 


nicely  to  the  climax  in  thz  closing 
scenes.  Editing  and  titlmg  is  above 
average.  Credit  is  due  both  Brown  and 
his  exceptionally  fine  cast  for  the 
smooth  manner  in  which  cast  performed 
before  the  camera. 

"Mister  X"  was  entered  in  Home 
Movies'  1942  Contest  and  received 
Honorable  Mention.  Subsequently  re- 
edited  along  suggestions  made  by  Home 
Movies  Staff,  Brown  submitted  the  film 
again  for  review,  whereupon  it  was 
chosen  the  best  film  of  the  month. 


ZJifpe  /or  titles  • . . 

•  Continued  from  Page  459 


india  ink  will,  for  best  results,  follow 
the  bold  character  styles  of  printer's 
type.  For  those  less  skilled,  there  are  de- 
vices which  will  aid  him  in  turning  out 
a  professional  job  of  lettering  with  little 
effort.  On  the  market  are  two  lettering 
outfits:  one,  the  LeRoy  and  the  other, 
Wrico.  Both  outfits  offer  a  transparent 
celluloid  lettering  guide  by  which  the 
pen  may  be  guided  in  making  uniform 
letters  as  shown  in  the  example  repro- 
duced under  group  4  in  the  illustration. 

This  method  for  lettering  titles  is 
fast  gaining  popularity  particularly  be- 
cause it  is  so  adaptable  for  lettering  the 
smaller  title  areas  required  by  type- 
writer titlers.  With  a  little  practice  any 
amateur  can  letter  a  small  title  card  of 
six  or  eight  words  almost  as  fast  as  he 
can  type  it. 

Amateurs  who  like  to  use  printer's 
type  may  do  so  without  expenditure  for 
either  type  or  printing  press.  Type  for 
each  title  card  can  be  set  by  Linotype 
and  printed  by  the  block  proof  method 
— taking  an  impression  by  hand  of  the 
inked  type.  On  page  277  of  the  July 
1942  issue,  George  Carlson  explained 
how  to  make  a  simple  proof  press  for 
printing  titles  from  type.  TTie  Linotype 
service,  mentioned  above,  may  be  had 
from  most  printers.  They  make  a  nomi- 
nal charge  for  typesetting  on  an  hour- 


The  going  is 
e  t  t  i  n  g 
tougher  .  .  .  but  I  still 
manage  to  pick  up  some  juicy  items 
from  time  to  time  .  .  .  That's  'cause  I 
pay  highest  prices  for  your  used  equip- 
ment. Try  me  if  you're  in  a  selling  mood. 

Charles  Bass 
President 

B&H  Autoload  16mm.  Magazine  wUh  I"  Wollen- 
sak  F:l.5  lens,  focusing  mount.  $143.  Case,  $5.85. 

B&H  8mm.  Companion  F:3.5  lens  $52.80 

Also  CINE  KODAK  SPECIAL,  MOVIKON  I6's 
FILMO   70E   and    70DA,    BOLEX   and  REVERE.' 

Write  Dept.  H  M 


CORONA 


BETTER 
BULK 
FILMS 

PRICES     00     NOT     INCLUOE  PROCESSING. 

SPEED     100  Ft.    400  Ft. 
CORONA   PAN  24-16       $3.30  $12.05 

ORTHOCHROMATIC         12-  4         1.80  6.20 
SAME   PRICE   FOR    I6MIV1.   OR   DOUBLE  8MM. 
MACHINE  REVERSAL  P ROC ESSI N G  — Double  8 
or  16mm.— 100  ft..  85c;  50  ft..  fiSc :  25  ft..  50c. 

FOR   THE   MONTH    OF    DECEMBER  ONLY 

FREE  BOOKLET  on  home  iii'occssing  instructions, 
plans  and  formulae  with  orders. 
Single  coiiies,  15c. 

All  Orders  S,hipficd  Postl>aid  Except  C.O.D. 

CORONA  FILM  LABORATORIES 

1028  NEW  YORK  AVE.        BROOKLYN,  N.  Y. 


Kodachrome 

MAPS   CHARTS   FINE  TITLES 

GEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
995-A    Merchandise    Mart,  Chicago 


PB  MOVIE  FILTER  KIT  FOR  COLORFILM 
FOR    I^EYEI^E  CAMERAS 

Including  I  Scr«w-rn-Sunshade,  I  Haze  Filter, 
I  Type  A  Filter.  I  Pouch,  TC 

complete  _   «P*T.# 

From    All    Leading   Camera   Dealers  or 

PONDER  &  BEST 

lOIS  SO.  GRAND  AVE..  LOS  ANGELES,  CALIF. 


inPHOTOS25« 

*  VoF  GHOST  TOWN 

MOST  UNIQUE  SPOT  IN  SO.  CALIFORNIA 

GHOST  TOWN  'PITCHUR  GALLERY' 

LOCATED  AT  KNOTTS'  BERRY  PLACE 
■UENA  PARK.  CALIFORNIA 


TINT!' 
TONE!  i 

'  Photographic  Prints. 
1  Block  and  White 

Movie  Films. 
1  Titles,  Slides.  Prints. 

^    Dip  once  and  it't  done.' 

Write  for  Literature 

.      .        p.  O.  BOX  123 

Teitel  Laboratories  corona,  n  y 

When    You    Buy  BAIA 
You  Buy  the  Best 
Precision  Made; 
Guaranteed  Perfect 

$2.75 

Prom  Your  Dealer  or  Direct 
BAIA  MOTION  PICTURE  ENG. 
ICG  Victor 
HiKhland  Park,  MIchicao 


PAGE  476 


HOME  MOVIES  FOR  DECEMBER 


NOW!!!  Spend  less  to  own  and  operate  your 
moiie  camera — Load  uith 

ONYX  MOVIE  FILM 


ONYX 

8 


ONYX 
24 


ONYX 
Hi-Speed 


100  ft.  16  $2.25    $4.25  $4.75 

25  h.  8/8         1.00      1.50  1.65 

30  ft.   Univex.     .65         .95  1.10 

RATINGS  —  8-24-50  for  Daylioht 
Reversal  Processing  Free  of  Charge. 

Write  for  price  list  of  other  types  of  film  and 

details  of  NEW  imm.  RENTAL  LIBRARY. 

KENWOOD  FILMS 

818  E.  47th  St.  CHICAGO.  ILL. 


Priced  Within  Your  Reach! 

1 6mm  S.  O.   F.     —  Musicals 

DAY  DREAMS — A  dcliehtful  Imaginallre  Christmas 
Kaiitasy   uurtraying  the  exuericnces  of  a  child  pro- 
jected Into  the  realm  of  Santa  Claus. 
GAY  OLD  DAYS— Frank  Luther's  faithful  rendition 
of  songs  of  the  Gay  Nineties. 

THE  LIFE  PP  THE  PARTY— A  dusky  maid  with 
the  Cabin  Kids,  comes  to  the  rescue  of  Mrs.  Wayne's 
party.  Good  Negro  Singing. 

HARLEM  HARMONY — Immortal  Negro  songs  ren- 
dered in  their  luiiiiitarile  way. 

ALPINE  RENDEVOUS— Swiss  Mountain  songs  com- 
bined with  yodeling  and  skiing. 

THE  SONG  PLUGGER— Sylvia  Froos  and  Brook 
Adaras  iiut  songs  oyer  in  a  music  store.  Real  mel- 
odious singing. 


(Usual  Trade  Discounts) 


List  $18.00  per  reel. 


SKIBO  PRODUCTIONS,  Inc. 

130   W.   46th   St..  New   York.    N.  Y. 


A  BARREL  OF  LAUGHS! 


CARTOONS  —  COMEDIES 

Complete  Edition 

8  MM  $  5.50 

16  MM   8.75 

16  MM.  SOUND    17.50 

Dealer  Discounts  Ai  ailable 
CERTIFIED  FILM  DISTRIBUTORS,  Inc. 

25  W«tt  45th  Street  New  York 


"Personalized" 
BINDERS 

for  your 

HOME  MOVIES 

Handsornely  bound  In  blue  leatherette,  each 
binder  holds  12  issues.  Easy  to  Insert  or 
remove  any  issue.  Personalized  with  your 
name  engraved  in  gold  on  cover  .  .  . 

$1.50 

POSTPAID 

Without  cngraiin^,  S1.25 

HOME    MOVI  ES 

5060  Sunset  Blvd.,  Hollywood,  Calif. 


Reversible  Film,  100  Ft  $1.95 

8mm.  Doi'ble,  25  Ft  $1.50 

PRICES    INCLUDE  PROCESSING 

Silly  Symphonies,  Charlie  Chaplin  and  other 
features  at  per  foot  for  complete  subject. 

Write  today  for  our  catalogue  of  finished  subjects, 

STAR   SAFETY  FILM 

630  Ninth  Ave,         Film  Center  BIdg..  N.  Y, 


PROTECT  FILMS 


VAP.O^RATE 

ASK  YOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO..  INC.'  BELL  ft  HOWELL  CO, 
I3«  W.  4«tli  St.  IBOl  Larchmont.  Chleao 
New  York,  N.Y.  716  No,  Labrea.  Hollywood 


AGAINST 
CLIMATE. 
SCRATCH- 
ES, STAINS. 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
HOLLY- 
WOOD  PRO- 
DUCERSDO,, 


ly  basis  plus  a  charge  for  the  metal. 
When  you  are  through  with  the  type,  it 
may  be  returned  for  refund  or  credit. 

Now  that  outdoor  filming  is  becom- 
ing more  restricted  through  gasoline 
and  tire  rationing  that  keeps  the  cine- 


bug  at  home,  titling  is  really  coming  in 
for  concentrated  attention  by  amateurs 
who  formerly  gave  it  too  little  thought. 
For  many,  there's  still  a  wealth  of  un- 
explored adventure  waiting  in  title 
making. 


J4ow  prize  l^ilmA  won  .  .  . 


O  Continued  from  Page  45* 

plot,  secretary  sits  on  lap  of  husband 
just  as  wife  pays  unexpected  call  at  of- 
fice. Husband  attempts  to  explain  and 
v.'ife  exits  in  a  huff.  Secretary  suggests 
he  can  square  himself  by  bringing  home 
a  gift.  Of  course  he  remembers  the 
wife's  desire  for  a  fur  coat,  orders  it 
delviered  to  his  home.  He  arrives  home 
from  the  office  to  find  wife  trying  on 
coat  in  presence  of  psuedo-secretary. 
"Well  I'll  Be  .  .!"  is  just  the  beginning 
of  what  he  said  upon  discovering  he  was 
tricked. 

In  the  family  films  class,  "Tom  Saw- 
yer,' produced  by  J.  A.  Potter,  Berke- 
ley, Calif.,  won  first  place.  This  was 
an  ambitious  undertaking,  yet  success- 
fully accomplished  with  the  aid  of  a 
cast  that  adequately  filled  the  acting  re- 
quqirements  of  so  well  known  a  story. 
The  picture  runs  550  feet  in  8mm.  Ko- 
dachrome  and  was  augmented  by  a  fine 
selection  of  records  for  theme  music. 
Photography  is  exceptionally  good,  ed- 
iting and  titling  above  average,  and  the 
production  as  a  whole  a  very  note- 
worthy effort. 

Trophy  for  second  place  in  the  fam- 
ily films  class  was  awarded  C.  A.  Thom- 
as, Salt  Lake  City,  Utah,  for  his  125- 
foot  8mm.  Kodachrome  entry,  "A  Let- 
ter To  Our  Daddy  Over  There."  A  time- 
ly theme,  picture  tells  of  a  little  girl 
writing  a  letter  to  her  daddy  in  the 
service.  Frequent  dissolves  from  little 
girl  to  some  of  her  activities  indicate 
what  she  is  writing.  A  well  rounded 
continuity  resulted,  marked  by  good 
photography  and  editing. 

Third  place  award  in  the  family  films 
class  went  to  A.  E.  Leonard  of  Arling- 
ton, Virginia.  His  100  foot  8mm.  Koda- 
chrome picture,  "Congratulations"  is  a 
record  of  a  baby — a  new  arrival  in  the 
family.  It  is  capably  done,  resulting  in 
a  continuity  that  holds  interest  right  to 
the  last  scene. 

In  the  documentary  films  class, 
"White  Waters,"  Movie  of  the  Month 
for  July  1942,  captured  first  award. 
Produced  by  C.  A.  Willis  of  Merced, 
Calif.,  this  picture  runs  400  feet  in 
1 6mm.  Kodachrome  and  is  a  documen- 
tary of  the  various  water  falls  and  their 
source  of  Yosemite  National  Park.  Com- 
prising some  of  the  best  scenic  photog- 
raphy screened  by  Home  Movies  staff 


in  years,  it  is  the  very  thorough  and 
skillful  titling  of  this  picture  that  gives 
it  life  and  interesting  continuity  and 
also  netted  Willis  a  second  trophy  for 
achievement  in  titling. 

Trophy  for  second  place  in  the  doc- 
umentary films  class  went  to  Richard 
Thiriot,  Salt  Lake  City,  for  his  fine 
400  foot  1 6mm.  Kodachrome  picture, 
"Week  End  for  Three"  which  was  de- 
scribed in  the  September  issue.  This  is 
a  documentary  of  Bryce  Canyon  in 
southern  Utah  made  doubly  interesting 
by  a  clever  continuity  woven  through 
it  involving  the  escapades  of  three 
youthful  travelers.  It  boasts  exceptional 
photography  plus  fine  editing  and 
titling. 

J.  O.  McCracken  of  Glendale,  Calif., 
won  the  special  plaque  awarded  in  this 
contest  by  the  U.  S.  Forest  Service  for 
the  best  film  submitted  in  the  forest  de- 
fense filming  class.  Running  125  feet 
in  8mm.  this  picture  sounds  a  warning 
against  those  who  would  imf)eril  our 
vast  forest  preserves  through  careless 
smoking,  use  of  matches,  and  camping. 
The  careless  smoker  and  camper  are  de- 
picted in  sequences  showing  how  care- 
lessly small  fires  start,  grow  into  an  in- 
ferno, leaving  charred  hillsides  as 
monuments  to  their  thoughtlessness. 
Masterful  camera  work,  good  editing 
and  titling  mark  this  a  fine  picture  in 
spite  of  its  limited  footage. 

Credit  has  already  been  given  those 
winning  achievement  awards  for  pho- 
tography, editing  and  titling.  In  addi- 
tion, awards  were  made  for  sound  and 
technical  achievement.  To  Jack  Hel- 
stowski,  Los  Angeles,  went  the  trophy 
for  achievement  in  sound  based  upon 
the  technical  excellence  in  post-record- 
ing synchronized  sound-on-disc  with 
the  Synchro-sound  System  for  his  200 
foot  8mm.  Kodachrome  picture  "Trials 
of  Life." 

H.  J.  Theiler,  Whitinsville,  Mass.,  re- 
ceived trophy  for  technical  achievement 
for  outstanding  accomplishment  in 
time-lapse  cinematography  in  the  pro- 
duction of  his  400  foot  1 6mm.  Koda- 
chrome picture  "Revelation."  Depicting 
flowers  swelling  from  bud  to  full  bloom, 
it  is  a  thoroughly  professional  job  with 
none  of  the  inconsistent  exposure  which 
so  often  marks  amateur  efforts  in  this 
type  of  cinematography. 


HOME  MOVIES  FOR  DECEMBER 


PAGE  477 


Limited  space  makes  it  impractical  to 
describe  even  briefly  those  films  which 
were  listed  last  month  as  receiving  Hon- 
orable Mention  certificates.  Many  in  this 
division  barely  missed  out  in  the  trophy 
awards  simply  because  there  were  films 
in  competition  just  a  little  bit  better. 
But  excellent  films,  nonetheless.  Even 
those  that  finished  out  of  the  running 
altogether  had  some  merit.  In  most  in- 
stances, the  filmer  was  strong  on  pho- 
tography but  weak  on  editing  or  titling; 
good  on  titling  but  lacking  the  ability 
to  put  a  pitcure  together  with  a  semb- 
lance of  continuity.  Many  of  these  some- 
day will  make  the  winners'  circle.  All 
they  need  is  to  strengthen  the  weak 
spots  in  their  movie  making  technique. 

Sn^orma  tion 

please  .  .  . 

•  ConthtnrtI  front  Page  4  5f> 

toward  scene  or  object.  Taking  a  meter 
reading  of  the  incident  light,  the  meter 
is  held  near  the  object  with  the  light 
cell  pointed  toward  light  source. 

Aged  Screen  (Allan  Pearson,  War- 
ren, Pa.) 

Q.  /  understand  there  is  a  method 
hy  which  beaded  movie  screens  yellowed 
with  age  may  be  restored  to  original 
whiteness.  How  is  this  done? 

A.  Most  beaded  screen  manufacturers 
recommend  that  yellowed  screens  be  ex- 
posed for  several  hours  to  direct  sun- 
light. The  sun  will  bleach  the  screen 
surface  restoring  the  original  white 
color. 

Light  Meter  For  Dim-Out  (Berton 
Lamb,  Santa  Barbara,  Calif.) 

Q.  I  understand  I  can  use  my  expos- 
ure meter  to  measure  light  in  foot  can- 
dles in  determining  light  brightness 
about  my  home  which  is  in  the  Army's 
regulated  dim-mit  area? 

A.  Yes  you  can.  If  your's  is  a  General 
Electric  exposure  meter,  for  example, 
you  can  remove  the  hood,  thus  causing 
the  meter  to  register  in  foot  candles. 
Place  meter  on  surface  on  which  light 
falls  and  read  meter  from  that  position 
with  cell  pointing  toward  light  source. 

Will  Splices  Hold?  (Jas.  H.  Dunn, 
So.  Bend,  Ind. ) 

Q.  I'm  planning  to  store  my  films  in- 
definitely while  I'm  in  the  army.  All 
have  quite  a  number  of  splices.  Will  age 
affect  these  splices  causing  them  to  part 
on  projection  later? 

A.  If  splices  were  well  made  and  es- 
pecially if  a  good  quality  of  fresh  ce- 
ment was  used,  they  will  last  indefinite- 
ly. In  splicing  safety  film,  each  section 
is  virtually  welded  together — the  ce- 
ment momentarily  dissolving   base  of 


the  film  causing  a  fusing  of  the  two 
sections. 

(Amateur  3ilm^ 

O  Continued  from  Page  45/ 

— chances  by  and  suggests  they  change 
name  of  beverage  to  "Victory  Punch" 
and  employ  some  modern  business  meth- 
ods in  selling  it.  All  the  kids  in  the 
neighborhood  are  pressed  into  service  as 
salesmen  and  salesgirls.  Some  are  sent 
on  a  door  to  door  canvass  of  the  neigh- 
borhood to  take  orders  while  others 
are  given  sandwitch  ad  boards  to  wear. 
This  brings  a  flood  of  trade  and,  of 
course,  money  for  the  circus  for  all. 

A  little  closer  attention  to  direction 
— and  we  know  making  kids  act  is  a  real 
job — and  a  fine  contender  for  Movie  of 
the  Month  would  have  resulted.  From 
a  strictly  amateur  standpoint  however, 
it's  a  swell  movie  and  it  has  been  award- 
ed a  3-star  merit  leader. 

plan  CkrUtnta^ 
Aiovie^  now  .  .  . 

•  Continneil  fron'  Page  457 

Naturally  no  Christmas  film  is  com- 
plete without  those  little  intimate  com- 
edy touches  which  are  so  easily  staged 
and  filmed.  If  there  is  a  cat  or  a  dog  in 
the  family,  it  can  be  pictured  getting 
into  trouble  with  the  tree  decorations 
— the  dog  innocently  dislodging  and 
breaking  an  ornament  with  his  wagging 
tail,  the  broken  ornament  pictured  in 
closeup  followed  by  a  shot  of  the  dog's 
expression  as  he  is  reproached  by  his 
master  or  mistress  out  of  scene.  Or  of 
a  playful  kitten,  toying  with  a  tree  or- 
nament, knocking  it  to  the  floor  and 
scampering  away  at  sound  of  the  crash. 
One  filmer  built  up  interest  in  the  sev- 
eral gifts  delivered  to  the  house  before 
Christmas,  by  having  the  dog  bark  and 
challenge  each  delivery  boy  as  he  called 
tc  leave  a  package. 

Then  there  is  the  old  familiar  gag  of 
having  Dad  monopolize  Junior's  toy 
tiain  to  the  dismay  of  Junior  who  re- 
taliates by  trying  on  Dad's  gift  ties, 
or  smoking  one  of  his  gift  cigars.  In 
short,  the  usual  action  of  the  family 
ai  Christmas  constitutes  your  continu- 
ity— your  shooting  script.  All  you  have 
to  do  is  film  the  highlights  of  the  day's 
activities  in  the  most  skillful  and  inter- 
esting manner,  in  sequences,  inject  a 
running  gag  or  a  little  humor  here  and 
there,  then  edit  the  whole  carefully  and 
insert  necessary  titles.  Done  this  way, 
your  Christmas  film  will  prove  enter- 
taining long  after  Christmas  is  forgotten, 
gotten. 


A   Fine   Gift   for   a    Friend    or  Yourself 

A  practical,  usable  album  for  snapsbots  up  to  5x7".  Stands 
uprigbt;  lays  flat  when  open.  Plastic  binding  rings. 
Choice  of  scarlet,  black,  blue  or  saddle  tan. 

With  30  black  paper  mounts  $1.50 

With   12  double  window   acetate-covered  mounts,  $2.75. 
At  Stores  or  Sent  Direct  Prepaid  on  Money- Back  Trial. 
Free  Catalog  of  Amfiles  for  reels,  slides,  etc. 


AMBERG  FILE  &  INDEX  CO.  lULliir'i.S'lt 


GARMUR 

CABLE  RELEASE 

ADAPTOR  for 
REMOTE 

CONTROL 


Eliminates  Jarring;  simplifies  single  frame  exposures: 
easily  attaciied  and  detached;  no  Interference  with 
loading,  winding  or  tripod  mounting. 
MODELS:  Revere;  Filmo  Companion  and  Sportster 

Cable  not  included. 
PRICE:  $1.00,    plus   tax    in   Calif.    (If   you  send 
stamps,  send  WAR  SAVINGS  STAMPS. 

Garmur  Products  ;,°X:':rc^" 

Also:  MATUS  CAMERA  SUPPLY  COMPANY  . 
5208  Wilshlre  Boulevard  Los  Angeles,  Calif. 


Hollywood!  Ambertint 
8MM. 

AMBERTINT  is  a  fine  grain  semi-ortho  film — carries 

a  large  latitude. 

AMBERTINT  film  derives  its  name  from  the  slight 
AMBER  tint  in  the  film — very  pleasing — and  does 
not  shov^  scratches  or  oil  marks  or  finger  marks  as 
soon  as  clear  film. 

AMBERTINT  film  gives  good  clear  pictures  v/ith  just 
the  right  degree  of  contrast.  It  is  the  ideal  out- 
door film.  Has  more  speed  than  necessary  for 
most  outdoor  shots. 

Per  25-ff.  Roll    $1.25 

HOLLYWOODLAND  STUDIOS 


9320  California  Ave. 


South  Gate,  Calif. 


8 ENLARGED    f  g% 
TO  lb 


REDUCED 

TO 


8 


Black  and  White  and  Kodachrome 
CEO.  W.  COLBURN  LABORATORY 

Special  Motion  Picture  Printing 
995-A  MERCHANDISE  MART 
CHICAGO 


Notice  to  Movie  Fans 

If  you  take  movies  (8mm  or  16mm)  you  atmply  cannol 
afford  to  be  without  a  Free  copy  of  th«  latest  Phot*  Bar- 
gain Book  now  beinff  distributed  throughout  the  U.  >. 
Lists  all  the  best  moving  picture  equipment  from  alt 
the  leading  manufacturers,  describes  them.  The  prlcaa 
save  you  money  in  many  cases.  You'll  And  the  lataat 
in  lenses,  screens,  meters,  projectors,  cameras,  fllB, 
titlers,  editing  outBts,  tripods,  books  on  adltlnc. 
titling,  etc.  This  Bargain  Book  is  Invaluable  to  you  as 
an  equipment  REFERENCE  book.  Don't  wait  a  day 
longer  to  send   for  your  Free  copy.   Writ*  ua  now. 

CENTRAL  CAMERA  COMPANY 
23D  S.  Wabash  Dept.  L-9  Chicago,  Illinois 


RENT  A  FILM 

^  SEND  FOR  FREE  LIST 

ESSCO  FILM  PRODUCTS 
3S27  ARCHER  AVE.,  CHICAGO 


PAGE  478 


HOME  MOVIES  FOR  DECEMBER 


EVERY   8MM.    FAN  WANTS 

CINE  EXTENAR 

It's  the  new  WIDE  ANGLE 
lens  that  every  cine  fan 
needs  to  catch  the  whole 
picture.  Simply  screws 
over  regular  8mm.  Ie,ns, 
providing  identical  focus 
and  definition  plus  a  WIDE 
ANGLE.  $27.50 
For  full  particulars,  write  today 

CAMERA   SPECIALTY  CO. 

48  West  29th  Street        New  York  City 


^^^^  /       ^0  £i^£Py 


Get    this    FREE    BOOK!  Every 

Movie  fan  should  have  it.  Chuck 

full   with   choicest   bargains  you 

ever  saw.  Daylight  Leading  Movie 

film  as  low  as  $1   per  roll,  ijro- 

cessing  included.  Also  bulk  film, 

and  dozens  of  bargains  in  acces- 
sories, screens,  reels,  titlers.  etc. 

Contains  BIG  NEW  LIST  166  film  subjects,  glam- 
our films,  cartoons,  westerns,  historical,  adven- 
ture and  sports  films  for  8mm.  and  16mm.  Write 
today.  Your  name  on  postcard  brings  this  handy 
book  by  return  mail  FREE! 

ESSCO    FILM  PRODUCTS 

3827  Archer  Ave.  Dept.  H-12  Chicago 


16mm  SOUND  on  Film 

RccorJiitg  Studio  ami  Editing  Facilities 

BERNDT-MAURER  RECORDER 
CEO.  W.  COLBURN  LABORATORY 

995-A    Merchandise   Mart  CHICAGO 


Better  Movies  with  BLACK  and 
WHITE  FILM 


I6MM.  100  Ft.  d>0  Cfl 
Revfrsible  Film  ^^-"^^ 

Tlicluiies  Vrnc('ssin!i 
Rating  Weston  12  Scheiner  18 
I-'ast  S('r\i{-c  processing  same 
(lay  inchuietl  at  no  additional 
co.'it.  At  your  dealer  or  dirert. 
Visual  Instr.  Supply  Co. 
757   B'way,    Brooklyn,  N.Y. 


Distinctive  TITLES 
and  expert  EDITING 

For   tbe    A  niateur    ami  ProleMsional 
1 6m  in   —  8mm 
Black   &   White,   Tinted   and  Koilachrome 
Write  for  our  nfw  illii<tirated  catalog 
STAHL  EDITING  I  TITLING  SERVICE 
»  West  42nd  Street  New  York,  N. 


Two    Sensational    New    Film  Subjects 
THE  CLAMOUR  NEWSREEL 

Issue  I — Beautiful  bathing  girls  as  you  like  them.  Un- 
usual photography. 

Issue  II — Sequel  to  No.  I,  this  film  iavors  platinum 
blonde  types.  You'll  love  'em. 

Prices,  prepaid — 8mm.  50  ft.  $2.00  each.  16mm.  100  ft. 
$4.00.     Available   only    in  black-white. 


H  .    F  . 

Box  392G 


JENKINS 

Elmira,  N.  Y. 


tYourOwn 

Film  Titles 

Photo  titles ,  stationery ,  greeting 
cards,  bookp!at'*8,  advertising. 
Easy  roles  furnished.  Junior 
Outfits  $8.26  up.  Senior  $17  up. 
Prim  lor  Others,  Big  Profits.  Sold 
direct  from  factory  only.  Write  for 
free  c«t«loir  and  all  details.  Kelsey 
Prassas,  W-94,  Meriilen.  Conn. 


GRADUATE  TO  A  Seemon/i 

3-star  SPLICER! 


jt  CxcluAlve  "i«Qsion 
pins"  for  greater 
Accuracy  I 
VDry  emuUioD 
»CT*p«r  —  ideal  (or 

,  Eodecfaromel   

jk-  Ajjchoted  cemeal-  cannot  upeell 


ANNUAL  INDEX 


HOME    MOV!  ES 


VOL.  IX 


1942 


Index   By  Titles 


•J— Il's  New  to  Me  .  .  .  ! 

II—  Ymi  Are  One  nf  Us  .  .  .  : 

fl — l''irst  l/cssiin  in  Making  Home  Movies 
Ki — liidiwr  LiKlitlng  Easy  fnr  the  Beginner 
1-1 — Title  Making  for  the  Beginning  Amateur 
l(i — (Juidc  for  the  Beginner  in  Movie  Editing 
17— Movie   of    tlle  Month 

IS — .\iLessorles  Pave  the  Way  to  Better  Filming 

III —  Itt'view  of  Winners  in  Uncut  Film  Contest 
20 — The  Kxperiniental  Cine  Workshop 

'J  1 — Iiifoniution  IMease 

■2A — ICiuiilsion  Ratings  for  8mm.  and  IRnini.  Filin.s 

:>0 — ICxposure  Tables  for  Photofiood  Lamps 

ill — The  Header  Speaks 

III',- With  the  Keel  Fellows 

lis — Film  Libraries 

:{!i — Title  Backgrounds 

■ill- Classified  Advertising 

411 — Information  Please 

4.S— One  Itecl  Movies 

.'■ill- 'I'itlc  Tiouhles 

.12— With  Iho  Beel  Fellows 

.'i  I — It's  New  10  Jlc  .  .  . : 

.'»7 — Movie  Amateurs  Enlisting  for  Defense 

.'iS — W'Unl  Beginners  Should  Know  About  l.,enses 

.'•il — Some  Trick  Devices  for  Trick  Photography 

fin — Make  Them  Interesting  to  Others! 

fi2 — Here's  What  To  Film  In  New  Mexico 

(i:! — How  Film  Spee<ls  are  Determined 

fit— Movie  of  the  Month 

fi.~» — Ueviews  and  Criticism  of  Amateurs'  Films 
(!fi — The  Experimental  Cine  Workshop 
7-1 — Eiunlsinn  Katlngs  for  8mm.  and  16inm  .Films 
s:i — Title  Backgrounds 
S4 — Classified  Advertising 
110 — Information  Please 
!12— Willi  Ihe  Heel  Fellows 
1)1— Til  Ic  Troubles 
110— The  Bender  Speaks 
on— Keep  Bight  im  Shooting 
1011— How  to  Make  Your  Titles  Black 

101—  I'llioiiig  Birds— .\  Hobby  Within  a  Hobby 

102—  How  lo  Build  a  Stage  for  Trick  Filming 
Io:i— Whiit  the  Beginner  Should  Know  .\bout  Film 
10  1 — Movie  of   the  Month 

ln."i — New  I'ilming  Ideas  for  Everyone  in  Monthly  Reviews 

101! — The  lOxperiinental  Cine  Workshop 

los—ll's  New  to  Me! 

110— If  You  Want  a  Film  to  Show 

112 —  Einiilsion  Ratings  for  8mm.  and  16mm.  Films 
lis — Exptisure  Tables  for  Photofiood  Lamps 

12fi — Handy  Ouiile  to  Back  Issues 

127— Title  Backgrounds 

12S— Classified  Advertising 

134— The   Reader  Speaks 

l,3(i— Title  Troubles 

KiS— With  the  Reel  Fellows 

140— One  Reel  Movies 

113—  This  Jfovie  Amateur  Buill  His  Own  Sound  Camera 

144 —  >Vhat  the  Beginner  Slimild  Know  About  Exposure 
Meiers 

\ir, — How  (o  Cenler  Titles 

14n— It's  Easy  to  Build  This  Error-Proof  TItler 
147 — Masking  I^letluids  for  Trick  Double  Exposures 

145—  Movie  of  the  Month 
140— Reviews  of  3-Star  Hfovies 
l.'iO — ICxperlniental  Cine  Workshop 

1. "i2 — It's  New  to  Me! 

lot- If  Y^ou  Want  a  Film  to  Show 
\M — How   I  Keep  My  Camera  Busy 

171 —  'i'itle  Backgrountis 

172 —  Classified  Advert  lisng 

178 — Defense  Filnung  Activities 

180 — Information  Please 

182 — The  Reader  Speaks 

IS.I — Animation  for  Amateur  Defense  Films 

isr. — Diffusion— What  It  Is  and  When  to  Use  It 

187 —  Amateur-Produced  Films  to  Aid  U.   S.   in  Forest 
Conservat  ion 

188 —  What   the   Beginner   Should   Know   About  Camera 
Speeds 

ISn — Scenario  for  Two  People,  a  ("at  and  a  Canary 
190— Now.  Let  s  Try  Our  First  Trick  Film 

101 —  How  to  Make  Fade-ns  and  Fade-outs 

102 —  .Amateur  "Or.son  Welles"  Films  Oliver  Twist 

103 —  Sound  Recording  for  Home  Movies 

104 —  The  Experimental  Cine  Workshop 
lOfi— It's  New  to  Me! 

108— If  You  Want  a  Film  to  Show 

200 — Emulsion  Ratings  for  Smm.  and  16mm.  Films 

208— With  the  Reel  Fellows 

212 — Reviews  of  .\mateur  Films 

214— Title  Troubles 

214 — Title  Backgrounds 

216 — Classified  Advertising 

222 — Defense  Filming  .Activities 

224 — Information  Please 

226-  With  the  Reel  Fellows 

227 —  Reviews  of  Amatetn-  Films 

220 — Forest  Defense  Filming  in  Full  Swing 

230 —  Take   Y'our   Camera    to  \\'ork 

231 —  .\  riuide  to  Filming  Y'ellowstone  Park 

232 —  What  Beginners  Should  Know  About  Filters 

233—  Y'ou  Can  Film  These  Trick  Effects 

234 —  Fader   Control   for   Smoother   "Special"   Lap  Dis- 
solves 

233 — How   to   Film  Ultra-Closeups 
231! — Y"ou  Can  t  Miss  with  This  Movie  Club  Plan 
237 — \y\iy  Scenes  Should  Be  planned.  Filmed  and  Edited 
for  Sequence 

23. '^ — The  Experimental  Cine  Workshop 
240— If  Y'ou  Want  a  Film  to  Show 

24. ')— Filler  Factors  for  Movie  Films 
2'il— Title  Troubles 

2. ').')- Title  Backgrounds 


PAGE 

2."ifi — Classified  Advcrlising 
2')2— With  the  Reel  Fellows 
264 — The  Reader  Speaks 

266 —  Information  Please 

267 —  Reviews  of  Amateur  Films 

269 —  Ideas  for  Filming  the  Circus 

270—  Filming  Your  First  Movie 

271 —  Close-Up  Filming  of  Bees,  Butterflies  and  Blossoms 

272—  Trick   Shots   Hollywood  Style 

273 —  How  to  Edit  Home  Movies 

274 —  Controlling  Focus  for  Better  Photography 

275—  Good  Titles  and  Plenty  of  Them 

276 —  Reel  Fellow  Films  the  Underground 

277 —  A  Home-Made  Press  for  Printing  Titles 

278 —  The  Experimental  Cine  Workshop 
280 — Home  Movie  Libraries 

280 — If  Y'ou  Want  a  Film  to  Show 
285 — Forest   Defense  Filming 

2S6 — Emulsion  Ratings  for  Smm.  and  16uim.  Films 
295 — Title  Troubles 

295 —  Home  Movie  Title  Backgrounds 

296 —  Classified  Advertising 

302 —  The  Reader  Speaks 
304 — Information  Please 

306 —  It's  New  to  Me! 

307 —  Reviews  of  Amateur  Films 

309 —  Screen  'Em  with  Sound 

310 —  New  Developments  In  Sound-on-Film 

311 —  Super  Closeups  with  Extension  Tubes 

312—  How  to  Film  Simple  Trick  Shots 

313 —  Mrs.  Seely  Films  a  Hummer 

314 —  Vary  Y'our  Viewpoints  and  Camera  Angles 

315 —  An  Easy-to-Film  Family  Scenario 

316 —  Single-Frame  Release  for  Keystone  Camera 

317 —  What  the  Beginner  Should  Know  About  Editing 

318 —  Th  Experimental  Cine  Workshop 
320— Home  Movie  Libraries 
320—11  Y'ou  Want  a  Film  to  Show 

324 — Filter  Factors  for  Popular  Smm.  and  16mm.  Rever- 
sal Cine  Films 
324 — Filter  Factor  Compensator 
330 — Emulsion  Ratings  for  Smm.  and  16mm  Films 
335 — Title  Troubles 

335 —  Home  Movie  Titles 

336 —  Classified  Advertising 
342— The  Reader  Speaks 
344 — Information  Please 

346 — Reviews  of  Amateur  Films 

349—  Films  That  Fight  Fire 

350 —  Movie  of  the  Month 

351 —  Britain's  Amateurs  Go  to  War 

352—  Color   Isn't  Everything 

353 —  What  the  Beginner  Should  Know  About  Titling 

354 —  New  Films  for  Cine  Stay-at-Homes 

355 —  How  to  Call  Tour  Shots 

356 —  Keeping  Film  and  Recordings  In  "Sync" 

357 —  Test  Your  Titles  for  Best  Results 

358 —  The  Experimental  Cine  Workshop 
360 — Home  Movie  Libraries 

360 — If  You  Want  a  Film  to  Show 

370 —  Successful    Club   Program  Ideas 

371—  Title  Troubles 

371—  Home  Movie  Titles 

372 —  Classified  Advertising 
378 — The  Reader  Speaks 

382 — Reviews  of  Amateur  Films 

38.5 — Low  Cost  Sound  for  Every  Movie  Amateur 

386 —  Simplifying  Title  Composition 

387—  Jfovie  of  the  Month 

388 —  Adventure  in  Time  Lapse  Cinematograptiy 
390 — One-Day  Educational  Filming  Project 

a^l — What  Amateurs  Should  Know  About  Processing 
,392 — Shoot   Em  in  Miniature 

303 —  Simple  Windback  for  16mm.  Keystone  Camera 

304—  The  Experimental  Cine  Workshop 
306 — Home  Movie  Libraries 

306— If  Y'ou  Want  a  Film  to  Show 
407 — Title  Troubles 

407 —  Title  Backgrounds 

408—  Classified  Advertising 
414 — Information  Please 
416 — The  Reader  Speaks 

418 —  Reviews    of    Amateur  Films 

419 —  Successful  Club  Program  Ideas 

421—  Build  Continuity  As  You  Shoot 

422 —  The   Winners   in   Home   Movies'   Annual  Amateur 
Contest 

424 —  Mood  Music  for  Y'our  Movies 

425—  Why  Didn't  My  Film  Win 

426 —  Background  Facts  for  Title  Makers 

427 —  How  We  JIade  a  Sound  Film 

428 —  Salvage  Those  Over  or  Under-Exposed  Shots 

429 —  Today's  Movies.  Our  Future  History  Books 

430 —  The  Experimental  Cine  Workshop 
432 — Home  Movies  Libraries 

432— If  Y'ou  Want  a  Film  to  Show 

437 — Exposure  Tables  for  Photofiood  Lamps 

440 — Emulsion  Ratings  for  Smm.  and  16mm.  Films 

443— Title  Troubles 

443 — Background  Title,? 

4M — Classified  Advertising 

t.iO — Information  Please 

4-')2— The  Header  Speaks 

454 — Reviews  of  Amateur  Films 

456 —  Home  Movie  Titles 

457 —  PIsn  Y'our  Christmas  Movies  Now 

458 —  Eleven  Prize  Films  and  How  They  Won 

459 —  Choosing  a  Type  for  Your  Titles 

460 —  Ifiuim.  Screen  Tests  Aiding  Talent  Search 

461—  His  Barnyard  Movies  Paid  Off! 

462 —  Now  They're  Shooting  35! 

463—  How  I  Made  My  Prize-Winning  Film 

464 —  Filming  Y'our  First  Scenario 

465 —  Movie  of  tlie  Month 

466 —  ^The  Experimental  Cine  Workshop 
478 — .Annual  Index  for  1942 

480— Classified  Advertising 


WHOLESALE  PHOTO   SUPPLY  COMPANY 

7346  BIVtUlT   BOUIEVARD       *       HOllYWOOD,  CAIIIOPNIA 


HOME  MOVIES  FOR  DECEMBER 


Index  By  Topics 

A 

Accessories,   important   (splicer,   exposure  mete:',  tripod. 

titler,  filters,  effect  devices)  explained;  18. 
Added  camera  speed  for  Keystone  8mm.;  107. 
Aid  for  splicing:  358. 
Aid  in  editing  150;  279. 
Air  brustied  bacltgrounds,  simulated:  318. 
Amateurs  shoot  35mm.  cameras:  462. 
Andior  for  tripod:  431. 
Animation  aid:  67. 
Animation  for  defense  films  185. 
Animation  for  tricl£  photograpliy:  272. 
Apparatus  for  time-lapse:  389. 
Applicator,  cement:  238. 

Attadiment  for  Keystone  camera  and  titler.  remote  con- 
trol: 279. 
Auxiliary  lens  liolder,  making:  106. 
Auxiliary  Lenses  for  titling,  explanation  of:  15. 
Auxiliary  lenses:  setting  for  accurate  focus:  452. 

B 

Uaby  continuity;  48. 

ISackgrounds  for  titles:  426;  432 

ISack  issue  guide:  126. 

Itottle  liolder  for  editing  board:  21. 

lieaded  screen,  making:  318. 

Ueginners  lesson  on  film:  103. 

Bird  filming;  101. 

Black  titles,  how  to  get:  100. 

Box  for  Shipping  film:  430. 

Brake,   for   rewinds:  466. 

Britain's  amateurs  go  to  war;  351. 

Builtiing  a  sound  camera;  143. 

Building  an  error  proof  titler;  146. 

Building  a  stage  for  trick  filming;  102. 

Bulk  film  holder:  27S. 

C 

Cable  attachment:  239. 
Camera  angles  for  drama:  314. 
Camera  fundamentals;  12. 
Camera  speeds,  explanation  of:  188. 
Camera    speeds,    testing:  390. 
Car  camera  motuit :  26 
Cement  applicator:  238. 
Centering  gadget:  238. 
Centering  titles:  66;  145. 
Christmas  movies,  planning:  457. 
Cinemlcograpliy;  311;  463. 
Circus  continuity:  269. 

Classified  advertising:  40.  84,  128,  172.  216,  256,  296, 

336,  372,  408,  444. 
Cleaning  film  aid:  430. 
Closeup  filming  explained:  271. 
Closeups,  filming  ultra;  235. 
Closeups   wltli   extension   tubes:  311. 
Club  plan  for  success ;  236. 
Club  programs,  successful:  419. 
Collector  in  editing  board,  film:  106. 
Commentary  sound  records  explained:  385. 
Commercial  films  for  stay-at-homes:  354. 
Composition  in  tilling:  386. 
Continuities;  48.   140;  189;  269. 
Continuity  explained  to  the  beginner;  270. 
Continuity  for  circus:  269. 
Continuity  vvith  color  necessary:  35-. 
Controlling  start  and  stop  of  camera,  gatiget  for:  151. 
Cup  cake  tin  aid  in  splicing:  151. 

D 

Defense  filming  activities:  178;  222. 

Defense  films,  animation;  185. 

Defense  measures  taught  by  films,  home;  57. 

Depth  of  focus  explained:  274. 

Depth  of  field  table:  290. 

Developing  tank  from  flourescent  lighting  tube;  106. 
Diffusion;  what  and  when:  186. 
Double  exposures;  147. 
Drama  through  angles:  314. 

E 

Editing:  16;  273;  317. 
Editing  aids:  20;  50;  194;  279. 
Editing  board:  319. 
Editing  case:  395. 
Editing  for  sequence:  237 
Editing  for  the  beginner;  317. 
Editing  guide:  66. 
Editor,  a  portable:  466. 
Effects:  232. 
Elementary  editing:  16. 

Emulsion  ratings  for  8  and  16mm.  films:  24,  74,  112, 

156,  200.  286,  330,  440. 
Emulsions  of  film  explained:  103. 
Enlargements:  21. 

Equipment  necessary  for  editing:  16. 
Equipment  necessary  for  indoor  lighting:  13. 
Equipment  necessary  for  processing;  391. 
Extension  tubes  for  closeups:  311. 

Experimental  Cine  Workshop:  20.  66.  106.  150.  194,  238, 

279.  318,  358,  394.  430. 
Exposure  guide  holder:  66. 
Exposure  meter  explained  for  beginner:  144. 
Exposure  tables  for  Photoflood  lamps:  30.  118,  437. 
Exposure  for  titles:  357. 

F 

F-R  Action  Editor — how  to  improve:  467. 

Fader  control  for  "Special"  lap  dissolve:  234. 

Fades,  stop  motion:  239. 

Fades,  negative-positive:  358. 

Faded  Screens,  how  to  restore:  450. 

Fades,  with  Kodachrome:  466. 

Fading  device:  6";  319. 

Fading  device,  for  iris:  467. 

Fading  glass,  making  a:  430. 

Fade-Ins  and  fade-outs:  191. 

Family  scenario;  315. 

File  for  titles:  319. 

Film  cleanser:  279.  - 

Film  clamps  while  editing:  21. 

Film  Library  listings:  38,  82,  110,  280,  320.  360.  396. 

Film  Tiewer:  21. 

FUm  waiher;  194. 

Film  speeds,  determination  of;  63. 

Film  fog  fixed:  66. 

Filming  birds:  101. 

Filming  for  the  duration;  99- 


PACE  479 


Filming  for  forest  defense:  229. 
Films  explained:  100. 

Films  and  recordings  in  "sync,"  keeping:  356. 

Films  of  Interest  to  all;  making:  60. 

Fllmvlewer  improvement:  467. 

Filter  factor  compensator:  245;  324. 

Filter  factor  table:  245;  324. 

Filters,  explanation  of:  323. 

Filters,  making  snap-on:  359. 

Filters,   testing:  390. 

Focus  control:  274. 

Forest  fire  fighting  film:  349. 

Forest  defense  filming:  229;  285. 

Forest  conservation,  amateur  films  aid  in:  187. 

Frame  enlargements:  21. 

Fundamentals  of  editing:  16. 

Fundamentals  of  indoor  lighting;  Vo. 

Fundamentals  of  titling:  11. 


Gadget  for  fading;  395. 
Grindstones  into  rewinds;  21. 


Home  movies  sound  recording:  l'J3. 

How  1  keep  my  camera  busy  (ideas  for  filming)  168. 

Hypertocai  distance  table:  290. 

I 

Indoor  lighting  tor  beginners;  lo. 

Information  Please   (department;  21.  42,  Uli.   ISIi.  224. 

266.  310,  344,  414. 
Insect  filming;  463. 
Intensification:  428. 

"It's  New  to  Me"   (department):  2.  54.  108.  152.  ISO, 
196,  306. 


Jug  processing  in  an  emergency:  195. 

K 

Kaleidascope.  making  a:  194. 

Iveystone  camera  single  frame  release,  homemade:  316. 
Keystone  projector,  how  to  increase  light:  466. 
Ivudachrome  testing:  390. 


Labeling  films,  method  of:  395. 

Lap  dissolves,  fader  control  for  "Special";  231. 

Leaders  for  beginning,  end  of  film;  430. 

Lens  aperture  table;  290. 

Lens  cap;  239. 

Lens  holder,   making:  358. 

Lens  fundamentals;  12. 

Lenses;  58. 

Lenses,  testing  various:  390. 

Lessons  in  Movie  Making:  1'2,  58,   103.  147.  lUO,  270, 

317.  353.  391. 
Library  Film  covers:  359. 
Lighting  fixtures;  66. 
Lighting  titles:  100. 
Lighting  unit  for  indoor  shooting ;  395. 
Low  cost  sound:  385. 
Luray  Caverns,  photography  in:  276. 

M 

Making  a  sound  picture:  427. 
Masking  methods:  147. 
Meter  kink:  279. 
Miniature  photography:  392. 
Mood  music  for  movies;  424. 

Movies  of  the  Month;  Jan.  "Latitude"  26;  Feb.  'The 
Story  Yosemite  Tells"  64;  ilar.  "Snap  Happy"  104; 
Apr.  "Rita  of  Rocky  Ranch"  lid;  May,  "Oliver 
Twist"  192;  June,,  "Day  on  the  Western  Front" 
230;  July,  "White  Waters"  275;  August,  "Mis. 
Hummer  at  Home"  313;  Sept.,  "Murder  by  Magic" 
350;  Oct.,  "Pottery  Making  as  a  Hobby"  387;  No- 
vember Winners  of  annual  contest:  422. 

N 

Nature  photography:  271. 
Needle  holder  for  turntables:  107. 
Negative  film  explained:  103. 
Negative-positive  fades:  358. 
New  Mexico,  filming  in:  62. 
News  Movies  of  today:  429. 

0 

One  Reel  Movies:  48;  140. 
Ortho  film  explained:  103. 


Panchromatic  film  explained:  103. 
Parallax  corrector,  homemade;  278. 
Pictures  didn't  win,  why;  425. 
Positive  film  explained;  103. 
Post  recorded  sound;  309. 

I'refocusing  ideas  for  projection:  20;  170;  167 

I'rinting  press  for  titles,  horaema^Ie  277, 

I'rize  winning  films:  458;  463. 

I'rocessing  in  jug:  195. 

Processing,  necessary  knowledge  for;  391. 

Projector  light,  how  to  increase:  466. 


PAGE    NUMBER  GUIDE 
1942  ISSUES  OF 
HOME  MOVIES 

January   2 

February   46 

March   90 

April   134 

May   178 

June    ;   222 

July   296 

August   302 

September   342 

October   378 

November   414 

December   449 


Projector  tilting  gadget;  194. 

Projector  pilot  light  from  radio  tube;  107. 

Projector  stand:  394. 

Projector  tripod:  305. 

Projector  remodeled:  195. 

Protection  against  losing  film  in  processing  lab. 


Range  finder;  238. 
Reduction;  428. 

Recordings  and  film  kept  in  "sync":  356. 

Reel  retainer:  107. 

Reel  retainer  for  projectors;  279. 

Reel  storage  cases:  467. 

Reinforce  splicers:  431. 

Reflectors  for  sunlight:  239. 

Regular  lenses:  58. 

Remodeling  projector:  195. 

Remote    control    attachment    for    Keystone    camera  and 

titler:  279. 
Remote  control  for  houselights:  394. 
Reviews  of  Amateur  Films:  19,  65,  105,  149.  212.  227, 

267.  307,  346,  382,  418. 
Reviews  of  commercial  8  and   16mm.   films:   110,  154, 

1D8.  240,  360. 
Reverse  action,  filming:  394. 
Revolver  trick:  359. 
Rewind  brake;  466. 
Rewinds  from  grindstones:  21. 
Rewinds,  making  a  pair  of;  151. 


Safelite  for  darkroom:  319. 

Scenarios:  Man,  woman,   cat  and  canary;   189;  family: 
315. 

Scene  Index:  467. 

Scenarios,   filming  your  first:  464. 

Scenes,  gadget  for  numbering:  467. 

Screen,   making   a   beaded:  318. 

.Screens,  restoring  faded;  450. 

Screen  tests,  in  16mm.:  460. 

Screens,  wall  adaptor  for:  466. 

Scroll  attachment  for  tillers:  278. 

Scroll  titler:  430. 

Scroll  titler,  making  a:  106. 

Sequence  in  filming  and  editing;  237. 

Simple  trick  photography:  312. 

Shots  explained,  types  of:  354. 

Signal  Corps,   amateurs  training  for;  462. 

Single  frame  for  8mm.  Keystone;  431. 

Single  frame  release  for  Keystone  camera:  316. 

Sound:  309.  310.  385. 

Sound  camera,  building  a:  143. 

Sound  picture,  making  a:  427. 

Sound  by  recording:  385. 

Sound  recording  for  home  movies:  193. 

Speeds  of  cameras  explained;  188. 

Splicing  tip:  66. 

Spooling  aid;  15. 

Stage  for  trick  photography,  building  a:  102. 

Still  shots  of  movies;  318. 

Stirring  rod:  239. 

Storage  cases  for  reels:  467. 

Stroboscopes:  150. 

Stop,  What's  A;  450. 

Stop  motion  fades:  239. 

Storage  of  film:  239. 

Subjects  to  shoot  for  the  duration:  99. 

Successful  clul)  program  ideas;  371. 

Suitcase,  light  unit;  106. 

Sunlight  reflectors:  239. 

Snyclironization  of  recordings  with  film:  356. 


Tape  measure,   eveready:  355. 
Teleplioto  lenses:  58. 

Testing  for  camera  speeds,  lenses.  Kodachrome.  exposure, 
filters:  390. 

"The  Reader  Speaks"  department:  35,  96,  134,  182,  264, 

302.   342.   378.  416. 
Time  lapse  cinematography:  388. 
Tinting  titles;  67. 
Title  area  chart;  33. 
Title  backgrounds;  facts  on:  426. 

Title   backgrounds:   39,    83,    127,    171,   215.    255.  295, 

335.  371.  407,  442. 
Title  composition,  simplifying:  386. 
Title  centering:  145. 
Title  exposure  testing:  357. 
Title  lens  turret:  195. 
Title  lighting:  100. 
Title  tinting:  07. 

Title  Troubles  (department) :  50,  94.  136,  215,  255.  295. 

335.   371,   407,  443. 
Titler  building  a;  147. 
Titler  explained  for  the  beginner:  353. 
Titles  and  plenty  of  them:  275. 
Titles  from  a  homemade  printing  press;  277. 
Titles,  type  faces  for;  459. 
Titling:   14;  275;  353. 
Titling  for  the  beginner:  14;  353. 
Titling  with  title  letters;  14. 
Today's  news  movies;  429. 
Travel  filming:  Yellowstone:  231. 
Trick  devices  for  trick  photography:  59. 
Trick  Photography:  12,  59,  103,  147,  189.  233.  272,  312. 
Trick  filming  stage,  building:  102. 
Tripod  anchor;  431. 
Turret  for  title  lens:  195. 
Typewriter  title  cards  held  securely:  318. 
Type  for  titles:  459. 
Typewriter  titling:  14. 

U 

Ultra  closeups,  filming:  235;  463. 


'\'ertical  titler.  gadget  convening  to  a:  150. 
■Viewer  slide,  making  a:  195. 

W 

War  documentary  continuity  of  family  activities:  140. 
Washer;  film:  making  a:  194. 
Wide  angle  lenses;  58. 

Windback  for  16mm.  Keystone,  making;  393. 
Winners  In  1942  Contest:  422. 
Wipe-off  gadget:  195;  4:!1. 

With  the  Reel  Fellim.s.   departmeni :  52,   92,   138.  208. 
226,  262. 


Y'liidstick  for  measuring  subject  to  light:  818. 
Yellowstone  Park,  filming:  31. 


PACE  480 


HOME  MOVIES  FOR  DECEMBER 


CLASSIFIED 


IDVERTISIM 


EQUIPMENT  FOR  SALE 


•  BASS  SAYS:  Here's  the  focal  point  for  cine 
equipment  values — largest  variety  in  the  country. 

USED  CAMERAS 
8mm.  Bell  &  Howell  Single  8,  with  case,  F:3.5  lens. 
$22.50. 

8mm.  Cine  Kodak  Model  20.  F:3.5  lens,  $24.50. 
8mm.  Cine  Kodak  25,  F:2.7  lens,  with  case,  $37.50. 
8mm.  Bell  &  Howell  Companion  Double  8,  F:3.5  lens, 
$37.50. 

8mm.  Revere  Model  99  Turret,  with  12.5mm.  Wol- 
lensak  F:l.9  in  focusing  mount,  $87.50. 

8mm.  Movikon,  F:2  Sonnar  lens  and  case,  $130.00. 

16mm.  Keystone  A-7,  I"  F:2.7  fixed  focus,  $39.50. 

16mm.  Filmo  70A,  Cooke  F:3.5  and  case,  $47.50. 

16mm.  Cine  Kodak  Model  B,  F;l.9  lens.  $49.50. 

16mm.  Cine  Kodak  Model  K,  with  F:l.9  lens  and 
case,  $72.50. 

16mm.  Bell  &  Howell  121  Magazine,  with  F:l.8 
Cooke  lens,  $74.50. 

i6mm.  Cine  Kodak  Model  A,  hand  crank,  specially 
fl*ted  with  400  ft.  16mm.  special  magazine  mount- 
ed externally,  with  F:3.5  lens,  $77.50. 

16mm.  Cine  Kodak  Magazine  with  F:l.9  lens,  $92.50. 

16mm.  Filmo  70E,  four  speed,  with  Cooke  F:2.7  and 
case,  $107.50. 

16mm.  Bell  &  Howell  141  Magazine,  with  1"  Lumax 
F:l.9  focusing   mount,  $117.50. 

16mm.  Filmo  70DA,  with  hand  crank,  15mm.  Wollen- 
sak  F:2.7,  1"  Wollensak  F:l.5,  3'  Wollensak  F:l.4, 

with  case.  $317.50. 

16mm.  Zeiss  Movikon,   with   Sonnar   F:l.4  lens,  with 

case  and  filters,  $350.00. 

I6MM.  PROJECTORS 
Ample   stock   of   new   Bell    &    Howell  Filmomasters 
and  case,  $169.60  each.  Also  Ampro  KD,  750  watt 

lamp,  with  case,  $160,000. 

16MM.  USED  SOUND  PROJECTORS 
Victor  Animatophone   Model  33,  750  watt,   8  watt 

amrplifier,  8'  speaker,  one  case  unit,  $275.00. 
Ampro  Model  N,  750  watt  lamp,  15  watt  amplifier, 

10"  speaker,  complete  in  cases,  $375.00. 
Victor  Animatophone  Model  40C,  AC-DC  operated, 

8*  speaker,  15  watt  amplifier,  one  case  unit,  with 

cover,  $387.50. 
IN  STOCK:  New  Filmomasters  8  and  16mm.,  Revere 

Deluxe,    Keystone   A-82,   Cine    Magazines  8  and 

16mm.,  Filmo  Autoloads  and  Automaster  models. 

Bell    &    Howell    direct   focuser   for   Autoload  or 

Automaster,  $20.55.  Quick  Set  Jr.  Cine  Tripod,  $20. 

Complete  stocks  of  Cine  Lenses,  all  focal  lengths. 

Write  for  quotations. 
We  buy  'em,  sell   'em,  and  trade  'em.  Complete 

stocks  of  new  Cine  Equipment  all  makes.  Send  for 

Bass  Supplementary  List  of  Cine   Equipment  up 

to  date. 

BASS  CAMERA  COMPANY,  Deot.  HC,  179  West 
Madison    St.,    Chicago,  Illinois. 

•  STEWART-WARNER  16mm.  Special  Camera  fit- 
ted with  custom-built  2-lens  turret  for  standard 
lens  mounts,  magnifying  focusing  tube.  Bell  & 
Howell  tubular  viewfinder,  and  lateral  shift  align- 
ment gauge.  No  lenses.  Price,  $25.00.  BOX  CV-12, 
HOME  MOVIES,  6060  Sunset  Blvd.,  Hollywood, 
Calif. 

•  BEST  OFFER — 2  new  Revere  projectors  with 
cases:  slightly  used  Revere  turret,  f/2.5,  I'/j"  8mm. 
telephoto  f/3.5;  Royal  pan  head;  as  lot  or  separ- 
ately.  H.  S.  REED,  318  Brown's  Lane,  Louisville,  Ky. 

.  •  CINE  SPECIAL,  f/1.9,  used  ten  times  audible 
shutter,  frame  counter — best  offer  considered. 
CAMPUS.  2025  East  7th  St..  Brooklyn,  N.  Y. 

8MM.  TURRET  Bell  &  Howell,  critical  focuser,  wind- 
back,  accurate  custom-built  frame-footage  coun- 
ter, T  Dallmeyer  f/2.9,  I"  T.  H.  f/2.5.  Mack  wide 
angle,  all  objectives;  Weston  Cine  Master,  Bool 
Fader  Thalhammer  tripod,  alignment  gauge.  All 
new.  Best  offer.  E.  B.  LIPSCOMB.  1222  N.  Prospect, 
Colo.  Springs,  Colo. 

•  MOVIE  rentals,  anywhere  U.  S.,  8-16  silent,  sound; 
dramas,  religious,  sport,  comedy,  travel,  education- 
al. 35mm.  for  sale.  Cameras,  Prelectors — sound, 
silent;  new,  used.  Sold,  purchased,  exchanged.  Re- 
pairs. Time  Payments.  CEstablished  I9I4).M0GULLS 
64  West  48th,  New  York. 

•  MAKE  your  own  8-l6mm.  action  fllmvlewer  edi- 
tor. Easy.  No  shutter  or  moving  oars — film  appears 
as  motion  pictures.  Send  $1.00  today  for  blueprint 
and  instructions.  BUCKLEY  BROS..  1188  Broadway 
Ave.,  Columbus,  Ohio. 

•  WE  ALLOW  4c  in  trade  for  50  ft.  and  2c  for 
25  ft.  and  30  ft.  8mm.  reels.  Send  for  our  winter 
CS  Catalogue.  ESO  S  PICTURES  3945  Central  Kan- 
sas C'*/  Misso-^'. 

 FILMS  FOR  EXCHANGE  

•  EXCHANGE:  silent  pictures,  $1.00  reel;  sound, 
$2.00.  Also  sell.  Free  catalogue^  Selected  sound 
programs,  reasonable  rentals.  BETTER  FILMS.  742 
New  Lots  Ave.,  Brooklyn,  N.  Y. 


Have  you  Some- 
thing to  sell? 


Turn  it  into  cash  with 
classified  ad! 


a    Home  Movies 


RATES:  Ten  cents  per  word;  minimum 
charge,  $2  cash  with  order.  Closing  date, 
loth  of  preceding  month.  HOME  MOVIES 
does  not  guarantee  goods  advertised.  Send 
ad  copy  to  6060  Sunset  Boulevard,  Holly- 
wood, California. 


WANTED 


•  WANTED — silent  films:  sports,  travelogues, 
events,  etc.,  also  recording  sound  camera  and  pro- 
jector. State  make  and  model.  Private  party.  166 
EAST  JEFFERSON  AVE.,  Detroit,  Mich. 

•  WANTED  —  used  equipment.  Bargain  list  on 
request.  PETERS,  41-B  So.  4th  St.,  Allentown,  Penna. 

•  WANTED  used  16mm.  sound  film,  all  Subjects. 
Send  list  and  prices.  E.  C.  CAMPBELL.  1214  Cleve- 
land Hts.  Blvd.,  Cleveland  Hts.,  Ohio. 

•  I6MM.  m.ovie  camera  and  projector  wanted. 
Bolex  or  Kodak  preferred,  also  films.  Cash.  ARTHUR 
RICH,  645  West  End  Ave..  Apt.  5-F.,  N.  Y.  C. 

•  WANTED— Cine  Special  or  B  &  H  70-DA  outfit 
in  good  condition,  cash.  Write  WM.  Alden,  300  W. 
93  St.,  N.  Y.  C. 

•  WANTED — Sound-silent  16mm.  features  and 
shorts.  Send  details  to  ROBERT  MARHENKE,  1925 
Harlem  Ave.,   Baltimore.  Md. 

•  WANTED— Excellent  or  perfect  Lieca  G-lll  B  or 
Contax  111,  in  feet  only;  or  Kodak  Ektra  and  ac- 
cessory lenses.  Also  want  Cine  Kodak  Special  and 
accessories.  State  lowest  cash  price,  give  full  de- 
scription. M.  A.  HOGAN.  201  So.  Main  St.  Ann 
A'bor,  Mich. 


TITLING 


•  TITLING  and  Close-up  Lens  Kit — Six  supple- 
mentary lenses  of  16",  18",  20"  24",  32"  and 
40"  focal  lengths.  Con  be  used  on  all  titlers  which 
provide  for  interchange  of  lenses.  Also  ideal  for 
general  close-up  photography.  Complete  kit  $3.00. 
Separate  lenses,  60c  each.  Also  available  in  6",  8" 
and  12"  focal  lengths  for  ultra-closeup  work. 
HOLLYWOOD  CINE  PRODUCTS  CO.,  3221  So. 
Figueroa  St.,   Los  Angeles,  Calif. 

•  TITLING  LETTERS  that  give  you  professional 
results.  Pin  letter  and  sanded  back  letters.  Com- 
p'ete  sets  available  $4.75  up.  Write  for  descriptive 
literature.  Ask  about  Santa  Claus,  Turkey  and  other 
title  illustros.  Big  variety  of  large  size  and  varied 
style  letters  can  be  purchased  by  the  letter  to  fill 
all  titling  needs.  MITTENS  LETTER  CO.,  Redlands, 
Calif. 


FILM  RELEASES 


•  GOOD  USED  16mm.  sound  prints — complete 
one  reel  subjects:  "Japs  Bomb  U.  S.  A."  $4.95; 
"Bombing  of  Pearl  Karbor"  $7.50;  "America's 
Call  To  Arms"  $7.50;  "Britain's  Commandos  In  Ac- 
tion" $9.95;  "MacArthur,  America's  First  Soldier" 
$9.95;  "Newsthrills  of  1941"  Vol.  1,  $6.00;  "News- 
thrills  of  1941"  Vol.  2,  $6.00;  "News  Parade  of 
1941"  $7.50;  "Our  First  Line  of  Defense"  $7.50; 
"Russia  Fights  Hitler"  $9.95;  "U.  S.  Navy  Blasts 
Marshall  Islands"  $9.95.  Postpaid  in  U.  S.  A. 
ELACKHAWK    FILM     Davenport,  Iowa. 


AM  YOU  A 
REEL  FELLOW? 

Put  the  trademark  of  your  organization  on  your 
home  movie  films.  Attractive  animated  Reel 
Fellows  leaders  now  available  to  members.  Dress 
up  your  films— give  them  a  professional  touch. 


8mm.  50c 


16mm.  60c 


DCCI  CCI  I  AWC  6060  SUNSET  BLVD 
I^CCl.   rCI_l_V^TTS    HOLLYWOOD.  CALIF. 


 FILM  RELEASES  

•  MONEYMAKER!  "The  V/orlcTs  G  reatest  Passion 
Play."  16mm.  and  35mm.  Specify  sound  or  silent. 
Rent  or  purchase.  Superior  than  Oberammergau- 
play.  HEMENWAY  FILM  CO.,  33-A  Melrose  St., 
Boston,  Mass. 

•  EXCHANGE  your  16mm.  full  subjects  used  or 
new  for  brand  new  8mm.  subjects.  No  exchange 
fee.  Also  send  for  free  lists  of  8mm. -16mm.  subjects 
cartoons,  comedies.  ABBE,  1265  Broadway,  N.  Y.  C. 

•  8-I6MM.  SILENT  and  sound  films.  Cameras  and 
projectors.  Bought,  sold,  traded.  Free  Lists  BOBS 
154  East  47th  St.,  N.  Y.  C.   ' 

•  SOUND  and  Silent  Films  exchanged,  bougfiT 
sold,  rented.  Bargains  always.  New  Free  lists 
FRANK  LANE,  5  Little  BIdg.,  Boston,  Mass. 

•  8-I6MM.  film  subjects,  60c  up.  Lists  stamp. 
PENCE  SERVICE,  2484  Liddesdale,  Detroit,  Mich. 

•  8-I6MM.  films  sold,  exchanged.  Many  subjects. 
Free  3O'x40'  screen  with  every  purchase.  GARY 
FILMS,  369  East  55,  Brooklyn,  N.  Y. 

•  CASH  or  liberal  trade-in  allowance  for  your 
used  film  subjects.  New  and  Used  films  at  bargain 
prices.  Exchange  fee  50c  plus  postage.  MICHIGAN 
FILM  EXCHANGE,  1514  Garfield  Ave.,  Grand 
Rapids,  Mich. 

•  COMPLETE  16mm.  sound,  subjects,  $1.00— need 
splicing.  All  sizes  film  bought,  sold,  exchanged. 
Catalogue,  sample  film  lOc. •  INTERNATIONAL-H 
2120  Strauss.  Brooklyn,  N.  Y.  ■■ 

•  BARGAINS  in  16mm.  souncif  film  rentals.  Pro- 
gram S5.00  day.  $9.50  week.  Bi^  lists  free.  V  AND 
W  FILMS,   1253  W.  18th,  Chicago,  III. 

•  8MM.  FILMS!  All  major  producers.  New — used 
prints.  Sales,  exchanges  .trade-ins.  RIEDEL  FILMS 
Cep».  HM-1242.  3207  Joslyn  Rd.,  Cleveland,  Ohio. 

•  MOVIE  FANS— Rent,  exchange  8mm. -16mm.  si- 
lent-sound films.  Use  our  yearly  rental  plan.  Over 
1000  subiects,  color,  black  &  white;  latest  Castle, 
Ofcial,  Cor-edy  House,  Bosko,  Flip  the  Frog,  Laff- 
builders  and  many  others.  COLLIER  PHOTO  SALES. 
9508  Nelson,  Telephone  Diamond  6836  Cleveland 
Ohio.  

•  SALE — Rental — Exchange:  Latest  film  releases.  All 
purchases  guaranteed.  Send  stamp  for  free  cata- 
logues.   BAILEY    FILMS,    1651    Cosmo,  Hollywood, 

Calif. 

KODACHROME    FILM  RELEASES 

•  KOIDACHROME  Travel  Films— latest  releases 
now  available  for  distribution  in  8  and  16mm.  Dime 
will  bring  color  sample  and  listings.  KENWOOD 
FILMS.  818  E.  47th  St.,  Chicago,  III.   

•  I^ODACHROME.  BW,  8-l6mm.  film  subTects  for 
grownups.  Lists,  color  sample,  10c.  No  postals  an- 
swered. JENKINS,  Elr-ira,  N.  Y.  Dealers  wanted. 

FILMS 

•  8MM-I6MM.  film.  Including  processing,  daylight 
loading,  non-halation,  25  ft.  8/8mm.  Weston  12, 
85c.  Weston  24-16,  $1.25.  Weston  64-40,  $1.50.  100 
ft.  16mm.  Weston  12.  $1.85.  Weston  24-16.  $3.75. 
Weston  64-40,  $4.00.  RITTER  FILM  SERVICE,  629 
Lyman  Ave.,   Oak   Park,  111. 

•  ESO-C  Hollywood  sepia  for  your  double  8mm. 
and  Univex  cameras,  $1.30  per  25  foot  double- 
8mm.  roll.  85c  per  two  rolls  Univex.  ESO-S,  see 
page  474. 

 DUPLICATING  SERVICE  

•  $1.25  PAYS  for  a  fifty-foot  8r-m.  duplicate  of 
your  favorite  reel.  Our  Monocolor  duplicates  will 
preserve  those  fading  Kodachrome  movies.  Partic- 
ulars. ESO-S  PICTURES,  3945  Central,  Kansas  City, 
Missouri. 

 PROCESSING  SERVICE  

•  MOTION  picture  processing.  100'  16mm.,  75c; 
50  I6r-im.,  50c;  25'  8/8mrr.,  35c;  25'  8mm.,  25c; 
RITTER  FILM  SERVICE,  629  Lyman  Ave.,  Oak 
Park,  III.  

•  ESO-S  is  licensed  by  Eastman  Kodak  Co.  to  pro- 
cess your  double-8mm.  films.  45c.  Univex,  15c.  3945 
Central,  Kansas  City,  Mo. 

MISCELLANEOUS 

•  STILL  PHOTOGRAPHERS!  Before  your  photos 
of  individuals  can  be  sold  with  safety,  you  must 
have  a  model  release  giving  legal  right  fo  S'll 
the  picture  for  publication  or  advertising  purpos  s. 
Model  release  forms  are  now  available,  rea  ly 
crinted  in  authentic  legal  manner,  50  for  25c  (coin) 
postpaid.  VER  HALEN  PUBLICATIONS.  6060  Sunset 
Blvd.,   Hollywood,  Calif. 


TIMELY  GIFTS— 

for  you  or  a  brother  cinebug! 


^  BOOK  that  supplies  answers  to  your  cine 
problems  is  a  handy  thing  to  have  around,  al- 
ways. Why  not  make  yourself  a  gift  of  one — 
or  all  four  of  these  books  this  Christmas?  Or 
perhaps  there's  a  friend  just  new  in  this  fasci- 
nating hobby  or  your  cine  club  who'd  appreciate 


Now  in  its  second  edition!  Most  popular  book  on  the  subject 
yet  published.  Gives  all  data  and  charts  needed  for  every 
type  of  home  movie  titling;  explains  use  of  shims  for  ultra 
cioseups;  gives  data  on  exposure  with  photofloods,  title 
areas,  field  of  view,  auxiliary  lenses,  AND  complete  plans 
for  building  your  own  titler.  Mailed  prepaid  for  only  $1.00. 


Processing  home  movie  film  is  far  more  fascinating  than  de- 
veloping snapshots.  It's  extremely  simple  too;  and  if  you're 
a  real  amateur,  eventually  you'll  want  to  process  your  movie 
films.  Here's  the  book  that  tells  you  how;  gives  all  formulas, 
plus  plans  for  building  your  own  processing  equipment.  It's 
a  dependable  advisor,  and  only  50c. 


a  gift  of  one  of  these  helpful  volumes. 

Handsomely  and  durably  bound,  each  volume 
is  a  complete  treatise  on  its  subject,  written  by 
men  who  know  amateur  movies  from  A  to  Z. 
All  books  shipped  postpaid.  Order  early  for 
Christmas! 


This  is  the  book  that  takes  up  where  your  camera  instruction 
book  leaves  off.  Makes  clear  the  functions  and  operation  of 
aH  parts  of  your  camera  and  lays  the  groundwork  for  good 
photography  with  your  firsit  roll  of  film.  Points  out  mistakes 
to  avoid  which  will  save  many  times  its  price  in  film.  It's  a 
"must"  for  every  beginner.  Price  50c,  postpaid. 


With  priorities  curtailing  equipment  and  accessories,  you'll 
have  to  build  the  gadgets  you  need.  But  it's  a  lot  of  fun 
and  here's  just  the  book  that  pictures  and  describes  many 
helpful  gadgets  for  lenses,  filters,  tripods,  for  fades  and  lap- 
dissolves,  ultra-closeup  filming,  titling,  etc. — approximately 
100  pages  of  vital  data  and  plans  for  only  $1.00. 


6060   SUNSET    BLVD.,    HOLLYWOOD,  CALIF. 


HERE'S  HOLLYWOOD  VERSATILITY 
AND  8MM.  ECONOMY  .  .  . 


ATT'HAT'S  in  a  name?  A  lifetime  of  fine  performance  —  when  the 
name  is  Filmo  Aristocrat  Turret  8— the  camera  that  brings 
Hollywood  versatility  to  low-cost  8mm.  movie  making. 

With  the  Aristocrat  you  are  master  of  every  situation  .  .  .  with  three 
lenses  mounted  on  the  turret  head,  any  one  of  which  may  be  placed  in 
photographing  position  simply  by  rotating  the  turret,  you  can  make 
long  shots,  medium  shots,  and  close-ups  without  moving  from  the  spot. 

Viewfinder  objectives  matching  the  lenses  are  also  mounted  on  the 
turret.  VThen  a  lens  is  in  photographing  position,  so  is  its  matching 
finder  .  .  .  automatically.'  You  see  exactly  as  much  of  the  subject  as  will 
appear  on  the  screen  .  .  .  and  "what  you  see,  you  get."  Speed  range  is 
16,  32,  48,  and  64  frames  per  second. 

All  of  these  advantages  are  in  addition  to  the  time-tested  features  of 
single-lens  Filmo  8's  .  .  .  daylight  loading,  no  sprockets  to  thread,  no 
loops  to  form  .  .  .  enclosed  positive  finder  .  .  .  rotary  disc  shutter  .  .  . 
single  frame  release  for  animation  work.  Price,  with  Taylor-Hobson 
1214mm.  F  2.5  UF  lens  and  matching  finder  objective,  not  including 
critical  focuser,  SI  16.8  0. 


r 


9P 


VIEWFINDER  OBJECTIVES— for  your  Tur- 
ret 8;  a  matching  viewfinder  objective  should 
be  used  with  each  lens  of  different  focal 
length.  The  objective  is  mounted  beside  the 
lens  and  will  fill  the  viewfinder  area  with  the 
field  covered  by  that  particular  lens. 

For  12  '2nim.  lens  (standard  on  Turret  8  : 
for  1-iach,  IH-inch,  and  2-inch  lenses,  $6.40 
each. 


i 


TELEPHOTO  LENS,  for  photographing  far- 
away subjects — ^for  single  lens  or  Turret  8 
Filmo;  1  -  -inch  F  3.5  B&H  focusing  lens,  $46. 


See  your  Filmo  camera  dealer  for  other  B&H  special  purix>se  lenses,  also. 


FOCUSING  ALIGNAIENT  GAUGE— 
for  Filmo  Turret  8  Camera:  permits 
using  the  Filmo  Turret  8  critical  focuser 
to  the  full  extent  of  its  capabilities. 

Title  cards,  maps — any  subject,  in 
fact,  may  be  sharply  focused  and  accu- 
rately composed  within  the  film  area 
and  then  photographed  with  com- 
plete assurance  of  desired  results. 
Price,  $8.80. 


CABLE  RELEASE — for  absolute  im- 
mobility—  a  necessity  when  doing 

critical  work  with  a  telephoto  lens,  or  single-frame  exposure 
work  with  any  lens.  Permits  you  to  operate  the  starting  button  without  touching  the 
camera.  Cable  release  for  single-lens  8's.  $3.45.  For  Turret  8*s  i^including  installation 
at  factorv-f,  $3.75.  For  Auto  Load  and  141,  $3.45;  for  Auto  Master,  $3.75. 


Cases  for  film-x  70  Cameras 


Compartment  Case 
for  Filmo  8 


Sheath  Case 
for  Filmo  8 


CARRYING  CASES  for  all 
FilmoCameras :  your  Filmo 
Camera  deserves  a  carrying 
case  built  for  it — built  to 
the  same  quality  standards 
of  the  camera.  To  get  the 
case  best  suited  to  your 
individual  needs,  consult 
your  Filmo  Camera  dealer. 

Prices  range  upward 
from  $3.20. 


Bell  &  Howell  Company,  Chicago;  New  York;  Hollywood;  Washington,  D.C.;  London 

Esfofaf/shee/  1907 


LET  MOTION  PICTURES 
BRIGHTEN  THIS  WARTIME 
CHRISTMAS... 

for  you  and  your  neighbors,  too! 

A  world  at  warl  Brave  voices 
singing,  "Peace  on  Earth,  Good 
Will  to  Men" — in  battle-scar- 
red churches!  In  millions  of 
homes,  vacant  chairs  tell  mutely 
of  loved  ones  fighting  to  bring 
true  the  dream  of  peace  and 
happiness  to  all  mankind.  But 
that  is  not  the  complete  picture 
of  this  wartime  Christmas  .  . . 

Millions  of  homes  and  thou- 
sands of  schools,  churches,  and 
clubs  will  rededicate  them- 
selves to  the  high  ideals  for 
which  we  fight.  Fortunate,  in- 
deed, will  be  those  who  can 
enjoy  the  inspiration  of  fine 
motion  pictures  that  fit  the 
times  and  mood  in  which  we 
carry  on.  There  are  morale- 
lifting  films  that  tell  of  the  war 
— and  escape  films  which  help 
one  momentarily  to  think  of 
other  things.  Yours  is  the 
choice. 

YOU  can  be  among  those  so 
favored,  if  you  will  but  put  your 
projector  to  work.  For  your- 
self and  your  own  family  there 
are  fine  films  to  be  bought  and 
rented.  But  here,  also,  is  it  not 
"more  blessed  to  give  than  to 
receive".-'  Think  of  the  happi- 
ness and  inspiration  you  can 
give  by  using  your  projector 
for  social  service  to  your 
communitvl 


Make  this  a  movie  Christmas- 
give  films — the  gift  that  brings  joy 
to  the  whole  family,  and  to  many 
more  besides 


For  the  more  serious  note,  official 
war  films — like  this  British  pic- 
ture "Words  for  Battle, ' "  and  many 
U.  S.  Government  films — can  be 
rented  for  as  low  as  25  cents  per 
reel.  The  first  reel  on  any  order 
carries  a  50c  charge.. 


Buy 

WAR  BONDS 


''E"  for 
Excellence 

A  10  -  minute 
sound  motion 
picture  avail- 
able on  nom- 
inal service 
charge. 


PRECiSION- 
MADE  BY 


BELL  &  HOWELL  COMPANY 
1825  Larchmont  Ave.,  Chicago,  IlL 
Please  send  full  details  about  ^  )  Filmo  Aristo- 
crat Turret  8  Camera:  ,  Catalog  of  available 
Accessories;  j  Filmo8"s:  Filmo  16mm.  Cam- 
eras: '  Latest  film  releases  by  Government 
available  on  rental  basis-  \  )  Films  for  training 
and  morale  building. 


Name  

Address    

City   . . State. 


Scanned  from  the  collection  of 
Chad  Hunter 


Coordinated  by  the 
Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 

The  Libraries  of  Northwestern  University  and 
Northwestern  University  in  Qatar